Halloween Kills (2021) | Film Review

For decades, Michael Myers has been synonymous with the Halloween season. His predatory methods, the fear he incites in every person he encounters, and of course, his iconic white mask and knife are all standards for a proper Halloween movie. But what happens when the community Michael has tormented decides to fight back and take him down?

Halloween Kills picks up right where Halloween (2018) left off. At the end of Halloween, three generations of Strode women faced-off against the evasive murderer, trapping him in Laurie Strode’s (Jamie Lee Curtis) bunker and setting the place on fire. Firefighters rush to the scene of the property set ablaze, as Laurie is transported to the hospital for her abdominal wound. The notion that Laurie, her daughter Karen (Judy Greer), and granddaughter Allyson (Andi Matichak) defeated the big bad is the only thing providing Laurie with relief in the hospital. Yet, we all know that can’t be the end of Michael. If it were that easy, it would’ve happened long ago.

As Michael’s escape makes the news, a group of 1978 survivors memorialize and commemorate the anniversary of lost loved ones, only to find that his victims list is far from complete. The old-timers team, led by Tommy (Anthony Michael Hall), are tired of evil winning and pursue their own idea of justice: killing Michael once and for all. Nothing can go wrong with that, right? 

What ensues can be surmised with one word: chaos. The impact of Michael’s torture on the town of Haddonfield, Illinois is unlike any other. Moving on is fine until October creeps around, bringing him back for slaughter once again. The town’s chaos to hunt down the perpetrator is very predator-like, in that they are driven by their animalistic, protective instincts and cannot be reasoned with. This concept from the writing team (David Gordon Green, Danny McBride, and Scott Teams) is actually quite insightful for a slasher flick; it poses the notion that given the right circumstances, we all have a little monster in us, and if the right person picks up on it, it can easily be manipulated. 

Though, while some on-screen characters believe “this is what Michael wants”, this brutal, vile “thing” is far from being that much of an intentional narcissist. Michael has one goal, and anything – or any one – that gets in his way will pay the price. That’s really all there is to it. So, that’s why when Michael slaughters a half-dozen people, it’s hard to believe he would take the time to drag their bodies and prop them up among a scene-setting stage, as though to send a message or paint a picture. This change in modus operandi (“MO”) in the twelfth film in the franchise just doesn’t fit. And it’s not like there’s some end-game explanation to justify the change in methodology. I can respect director David Gordon Green’s effort to try new things and make it a bit more fun, but it just doesn’t work here. 

Speaking of fun, you’ll find a huge tonal shift from most of the Halloween films to Halloween Kills, and Danny McBride’s influence is all over the scenes with non-Michael players. The overtly hippie gay lovers who proudly own the Myers’ family home, Little John (Scott MacArthur) and Big John (Michael McDonald), are prime examples. The cheeky, overly-dramatic shits-and-giggles moments purely exist to garner audience laughter, but fail to feel like they belong. The tone feels split between two distinct voices – one who understands the not-so-methodical Halloween, which scares audiences using the tension of watching a killer stalk its prey; and the other, who is more focused on jump scares, humor in the in-between, and grotesquely ridiculous kills. 

Don’t get me wrong – I love my gory murder, when guts are ripped out, bones crackle, and blood squirts every which way. But again, it feels so off here. Halloween Kills goes beyond the bloody and unique kills that leave room for your imagination, and leaps to a place of Saw. Besides, who told Green that it was okay to underutilize the beloved Ms. Curtis? If that woman is breathing, I better see her fighting each moment to take Michael down, dammit! That vengeance, that fire, it courses through her veins. Use your best actress when you’ve got her! Or don’t. Fine, I guess. But that’s all your movie will be to me: fine, I guess. 

The moments that do work, work great. The camerawork and creativity are stand-outs among the film, and there are plenty of gasp-worthy stabs. While there may be a bit too much rule-breaking of the classics than I’d like, Laurie is still the only one who knows Michael better than himself, and his return home is at the core of each film entry. Keeping Halloween to its roots is just as important as breathing new life into a product. Did I like it? For a Halloween movie, no. For a horror movie, sure. 

Whether Halloween Kills sticks the landing in the end or not is out of the question, because it just doesn’t matter what the conclusion is. Truly. Because we all know that Michael will find a way to live another day, despite every effort to stop him. After 12 movies, you just anticipate there to be no real stakes for the guy. And yet, the stakes feel very real for the good guys and gals. Try as they may, very few who taunt Mr. Myers survive… on Halloween night. 

Follow our further discussion on Halloween Kills via this episode of The Hollywood Outsider podcast: