If you're not familiar with the "Halloween" films ... well, all you really need to have seen is the 2018 film to keep up with the plot. But seriously, go track down at the very least the first two films — oh, and "Season of the Witch" too.
At this point, we finally catch up with the Strode girls, as they ride away from the burning death trap created for Michael — and watch in horror as a team of firefighters race toward the scene. "No!" a distraught Laurie screams. "Let it burn!"
Although some have been upset by the imagery of Michael Myers murdering first responders, it is essential to the plot — and how Michael gets out of Laurie's seemingly perfect trap. These responders also don't take the attack passively — armed with axes, saws and other equipment, they attempt to confront Michael. You can probably guess how that turns out, but this much is not so predictable: Green shoots the sequence with impressive flair and memorable creativity. As a lifelong "Halloween" fan, it's so nice to watch such a talented director (who clearly loves the source material) at the wheel.
The worst "Halloween" films have been too heavy, or too light. It could be argued that "Halloween Kills" strikes the best balance since the original film. Yeah, there are scenes when Michael squashes a man's skull just because he seems to feel like it, or stabs somebody with a shattered track light bulb and will likely cause you to think "well, I've never seen that one before" — but there's also a great cameo from funnyman Lenny Clarke, and a hoot of a subplot involving two men named "Little John" and "Big John" who have given the Myers murder house an extreme makeover.
Dancing and getting stoned, the men love telling the neighborhood kids spooky stories about their house — but don't love it so much when Michael comes home. Ironically, Little John defends himself with a big knife, while Big John selects a little knife.
"Halloween Kills" is at its best when paying lip service to the fans, looking back on the events of 1978 with meticulous, reverential glee. Although you get far less time with Laurie than in the last movie (she's essentially licking her wounds), Judy Greer does some great work in the film. She often serves as a mouthpiece for the audience, like when she begins fuming at hospital staff: "Does the hospital have security guards? Do you have security guards? It seems like you should have security guards in case something like this happens. And this is happening, right now."
"Kills" is at its worst when indulging a forced red herring involving a second escaped inmate. Very early on, the audience is aware that this man is not a mask-less Michael — so when an angry mob led by Tommy spends several minutes convinced that he is, all the audience can do is sit back (maybe take a bathroom break if you're smart) and wait for the characters to catch up. Keep in mind, this all sucks up several minutes when the real Michael is nowhere to be seen.
Which is a shame, because it's the only weak spot in the Tommy Doyle storyline, and Anthony Michael Hall feels authentic, intense, and frequently dangerous in the role. "Kills" shines a bright light on many of the different "If I encountered Michael Myers, here's what I'd do" scenarios of the past decades, with Tommy urging everyone to move around unexpectedly, keep Michael off guard, and find strength in numbers.
