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Halloween: H20 Review by Sean Axmaker
The legacy of the horror movie sequel was nicely summed up in Scream by Jaime Kennedy’s film geek character: more bodies, more elaborate deaths, more gore. It’s nice to see that Steve Miner, Kevin Williamson, Jamie Lee Curtis and company have taken the high road in Halloween H20. They know their conventions, but rather than take the self-aware Scream route, H20 returns to an almost slasher film purity: innocent horror movie fun , a lean, sharp thrill ride that delivers scares rather than gore. It’s the best Halloween film since the original and the smartest horror film to come along in quite some time.
But I get ahead of myself. The film begins with Nurse Marion Chambers (Nancy Stephens reprising her role from the first two films) returning home from work to find her house broken into. In the office is a wall full of clippings and notes on the dreaded Haddonfield murders twenty years before, along with a newspaper article on Laurie’s death in a car accident (the only reference to a Halloween outside the first two -- in number 4 that death is reported). The house belonged to Dr. Loomis (the late Donald Pleasance, whose voice returns in a wonderful tribute over the opening credits), the fearless psychiatrist that chased Michael through five films (three of those don’t count, of course, and his files have been ransacked -- including, we suspect, the true story of Laurie’s "death." Well, no surprise the burglar is Michael and Miner uses the sequence to tease us -- which is just what it feels like, a playful bit of jest as expectations are built higher and higher while we wait for the knife to fall. For the next half hour or so the script resorts to the standard rules of slasher movie set-up: establish potential victims, lay in the necessary number of coincidences to leave them sitting ducks (in this case a weekend long field trip which clears out the campus -- but for a few key stragglers -- on Halloween), and beat the audience over the head with false scares and cheap shocks. The kids aren’t any worse than similar movie meat -- the screenplay doesn’t really give them all that much to work with -- but it’s Jamie Lee Curtis that gives this whole set-up its punch. The legacy of Laurie has provided a creepy real world dimension to the horror fantasy, an emotionally scarred, psychically devastated survivor for whom the nightmare never ended. Curtis invests Laurie with cutting humor and a hollow exuberance, putting on a good show for her son John (Josh Hartnell), lover Will (Adam Arkin), and nosy "let me be maternal" secretary Norma (a cute but brief tongue-in-cheek appearance by real life mom and Psycho scream queen Janet Leigh).
Holding it all together is the family reunion. In the film’s best moment brother and sister stare at one another through the thick glass of a locked door. The fear seems to drain from Laurie’s eyes for a moment replaced melancholy, while Michael, with his black puppy dog eyes under a ghastly death-white mask, shows no hate or anger or anything we’d associate with a killer. He becomes even more enigmatic and terrifying because there’s nothing there to fathom. And as the stalking continues Laurie becomes a rare horror heroine that comes to expect the unexpected. Having seen Michael rise from the dead before she’s not about to turn her back now.
H20 delivers a smart, slick slasher movie that treats both its characters and audience with a modicum of respect and without the self-consciousness of Scream. Shakespeare it ain’t, but it works for me. Contents | Features | Reviews | News | Archives | Store Copyright © 1999 by Nitrate Productions, Inc. All Rights Reserved. |
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