Halloween H20 - 20 Jahre später

After so many poor follow ups, H20 serves up thrills and spills, with the franchise managing to go bigger, and yet get back to basics.

It's well acted, very well paced, and entertaining from start to finish. It's also nice to see the hunted become the hunter, great to see Laurie get revenge on her sadistic brother.

Curtis is great, Hartnett is cool also, although why's he wearing a shirt six sizes too big for him?

Some great moments, it's very suspenseful, kind of builds on the success of the Scream franchise, it very much has that vibe as opposed to it's predecessors.

One of the best. 8/10

when i went to go see this movie at the theaters, i was scared to death. But when i first watched it on VHS a couple times, i had no clue that it ignored what happened in Halloween 3-6.

Halloween h20 picks up 20 years after the happenings of the first Halloween. Keri Tate/Laurie Strode (Jamie Lee Curtis) has gone into hiding and working as a teacher at a private school in California. But it's getting close to Halloween and she is unaware that Michael has now relocated his sister. Sooner than later, Lauri fights back, not wanting to live a life a fear and preying that her brother will not find her. The ending **spoilers** was great how Lauri fights back. At the end**spoilers** it showed how Lauri would kill Michael once and for all, but that was messed up in the next Halloween movie "Halloween Resurrection".

Ah, the mid-to-late 1990's... sort-of a rebirth of horror in a way. After all, the period from 1990 to about 1995 was wholly and decidedly a relatively murky period for the genre, with quality releases being very few and far between. Audiences were tiring of the holdover 80's slasher flicks and ho-hum ghost stories, with really only a handful of stand-out creep-shows to keep horror fans satiated. With so few quality-choices (notably the mini-series "It" from the book by Stephen King and the wonderful thriller "Candyman" from the stories of Clive Barker), it was no wonder that the early 90's were considered a "dead" period.

Then, "Scream" happened and changed everything. It proved that not only could horror be widely appealing at the hands of gifted writers and quality filmmakers, but also showed that the old tropes and clichés could be "hip" and "cool" again when handled with care and a degree of nostalgic love.

So, it should come as no shock that after the colossal misfire that was the previous film ("The Curse of Michael Myers"), the "Halloween" series got a new lease on life with a post-"Scream" sensibility in this 1998 release- "Halloween H20: Twenty Years Later." A minor degree of self-awareness, a focus on modern teenage and young adult culture and a fun blast from the past by way of original star Jamie Lee Curtis made the series relevant and modern in a way that both worked to re-invigorate interest and also pay homage to the series origins.

The film was lovingly crafted to serve as a book-end to the original, cleverly taking advantage of being released on the twentieth anniversary of the John Carpenter classic as part of it's schtick. It was built up as the "Halloween" to end all "Halloween's"... A "Halloween" for the modern era. A "Halloween" for the sharp and post-modern 90's crowd. And a "Halloween" that honored the long- beloved roots of the series.

Directed by Steve Miner, the film revolves around Jamie Lee Curtis' Laurie Strode, now living as a teacher under a false name. Still haunted by nightmares of her murderous sibling Michael Myers, Laurie is trying her hardest to move on. But when her brother comes calling, the stakes are set for a final and apocalyptic battle from which only one can emerge alive.

The success of the film really falls onto its clear adoration of the original and the desire to "evolve" and "complete" the story that it started in a new and fresh way. You can feel the love for that film oozing in virtually every scene here, with many subtle homages and call-backs. Yet it also builds and evolves the franchise in a way that previous films hadn't. Whereas prior sequels truly did feel like they were simply trying to re-create the magic of the original to increasingly diminishing results, "H20" actually has the guts to say "No, the best way to pay tribute to the origin of the series is to make homage and continue the story, but allow it to change with the times." A huge part of that is the result of that late-90's self-aware mindset popularized by other films, and I think it works wonders. There are numerous levels of subversion that make you second-guess where it's all leading, there's plenty of banter and humor that satisfies the audience, and it also makes the wise move to make all the characters likable... nobody here really has their own agenda as so many other slasher-sequels have done with their characters.

Miner's direction is strong, with a keen sense of scope, atmosphere and composition. He finds just the right balance between old- fashioned cinematography and 90's era aesthetics, giving the film a unique tone and visual palate that both compliments and contrasts with the Carpenter original.

Performances are uniformly strong for the material. Curtis is a joy in her returning role, giving Laurie a grand sense of pathos but also a drive to finally face her fears. Supporting roles by the likes of Josh Hartnett, Adam Arkin and even rapper LL Cool J round out a likable and believable cast. And there's no sore thumbs to be found. Also of note is voice-over artist Tom Kane, who perfectly re- creates the brilliant dialog of the late Donald Pleasance in a wonderful opening sequence. (Also, keep your eyes peeled for future superstar Joseph Gordon- Levitt in a small role in the opening sequence!)

Should I have to address any negatives, I would definitely have to dock some slight points for a frankly shaky first act, which does fall back on the old tropes and clichés a bit too much. It just feels contrary to the much stronger second and third acts of the film, and it doesn't do much to subvert expectations or built on the legacy of the series. I also take some slight issue with the film's at times break-neck pace... it's already a fairly short film, and it rushes a bit too much for everything to really set in.

Still, those flaws being stated, I can't help but feel that for my money, this is the best of the "Halloween" sequels. It built off of what came before, served as a loving tribute and also book-ended the series with what was at the time built up to be the final entry in the series. To me, the "Halloween" franchise is a trilogy- Carpenter's "Halloween", it's first sequel "Halloween II" and this film, "H20." Everything else to me is pure fan-fiction.

I give "Halloween H20: Twenty Years Later" a strong 8 out of 10 as a horror fan and in particular as a fan of the franchise. Definitely worth seeing. (It's follow-up "Resurrection"... not so much.)

"Halloween H20" is the most accomplished sequel of the "Halloween" series, and a film that would deserve a "10" for its potency, conviction, and intelligence if it weren't for a few non-Laurie scenes earlier in the film that feel less than what other films achieved at the time.

You can't talk about "Halloween H20" without discussing the impact the "Scream" trilogy had on this era in horror cinema. The post-modern references, thrilling and modern style, sexy stars, and heightened feminist protagonists that made the three "Scream" films so successful are borrowed by "Halloween H20" and are used to the film's triumph.

The single best aspect of "Halloween H20" is Laurie Strode's character development. Though it's a bit more heavy-handed than Sidney in "Scream," it's effective, thorough, and aided by Jamie Lee Curtis' phenomenal, unforgettable portrayal. The last 20 minutes are first-rate 1990s horror.

"Halloween H20" feels as scary and fresh today as it did in 1998.

Back before Lions Gate (now Lionsgate) held the monopoly on mainstream genre pics, Dimension Films was the go-to place for horror and suspense of the 'indie' sort. In 1998, with Wes Craven's 2 "Scream" films maintaining the public interest to great financial success, Dimension decided to put their acquisition of the "Halloween" franchise to good use (especially after the atrocious "Curse of Michael Myers") by making a sequel to end all sequels (at least until the atrocious "Halloween: Resurrection" turded up multiplexes).

In addition to being one of the most instantly-recognizable titles in all of horror, "Halloween: H20" came to screens with an added incentive: it marked the series return of original protagonist/victim Laurie Strode (played with cat-like veracity by Jamie Lee Curtis). Curtis' presence, in addition to the reliable skill of director Steve Miner (who cut his teeth on two "Friday the 13th" sequels), plus a story that wisely disregarded the incidents of all the sequels past "II," set "H20" up as the series payoff I was so eagerly awaiting. After leaving the theater, I was more than satisfied with the end result.

Years go by. Dimension becomes a notorious den of re-cuts, re-shoots, and re-castings (just ask Wes "Cursed" Craven) still trying to mine the 'Fresh-Faced-Teen' demographic that doesn't seem to exist anymore. Upon re-examination of "H20"'s box/poster art, I noticed a recurrent motif (from "Scream" to "Phantoms" to "Nightwatch" to "Rounders") in design: the proliferation of airbrushed faces looking Deeply Concerned about something, in addition to an over-reliance on bold, exclamatory blurbs from dubious sources (WWOR-TV, anyone?).

But I'm not reviewing the marketing tactics of a company whose former glories (namely Tarantino and Rodriguez) are now its only source of revenue.

"Sin City" notwithstanding, "H20" might have been the last good movie to come out of Dimension. At its core, it is a surprisingly compact (86 minutes, including credits) horror-thriller that moves so briskly we are never able to get too cozy with the characters. Miner goes for the subtle compositions that marked John Carpenter's original, and is fairly successful: the film refrains from the obligatory sex and self-referential attitude that would have been profitable at the time. From frame one, "H20" feels like a continuous, flowing set-piece...but the way it sidelines its characters leaves a hollow echo when it's all finished. Also unfortunate is that the suspense is so heavy-handed it seldom creates tension; this might be attributable to Chris Durand's overly self-conscious portrayal of the menacing Michael Myers. The relationship between Curtis, her son John (Josh Hartnett), and Myers is the film's intriguing familial triangle, but is disappointingly underdeveloped (though for the sake of the series, it wraps things up well enough).

In the end, "H20" is Curtis' show. She imbues her character with as much straight-faced commitment as she did in '78, in addition to a toughened exterior bent on preserving family values at any cost. The denouement, which contains a moment as touching as it is creepy, gives new meaning to the phrase, "tough love."