Halloween 4: O Retorno de Michael Myers

After the failure that was the 3rd Halloween sequel, the writers knew that was mainly due to the absence of Michael Myers. So what did they do? They invited Michael back in for the 4th sequel and back into the story of Halloween. Even though I did enjoy the 3rd sequel, I do agree that I missed Michael. He's my favorite boogeyman, so it'd be cool to see him return and do what he does best, slice and dice and scare the heck out of me. Well is this really scary? Not too much, but still it's a fun sequel to get into and watch in the dark. I like the story and how they are continuing into the Myer's past and how far Michael will go to destroy this blood line. Although I was disappointed to not have Laurie Strode in this one, it was interesting to see how her legacy lives on with her daughter and now she will have the struggle with Michael Myers.

Michael Myers has been in a coma for ten years, when his massacre was stopped by Dr. Samuel J. Loomis and Laurie Strode. Myers is being transferred from Ridgemont Federal Sanitarium to Smith's Grove Sanitarium. He awakens when he hears that Laurie Strode, his sister, is deceased, but her daughter, Jamie Lloyd is alive and well in Haddonfield. He kills the ambulance crew and escapes. Dr. Loomis races to Haddonfield in an attempt to bring Myers' killing spree to an end once and for all. In Haddonfield, his niece Jamie Lloyd, has been adopted by the Carruthers family. She has frequent nightmares about Michael, though she does not know who he is. On Halloween night, Jamie goes out trick-or-treating dressed as a clown with her teenage foster sister Rachel. Her uncle, Michael, follows them. Meanwhile, Loomis arrives in Haddonfield after an exhausting journey, and contacts the police department to inform them of Myers' escape. He and Haddonfield's new Sheriff Ben Meeker begin to search the town for Michael and Jamie. Myers has also blacked out the town's electricity by throwing a technician onto a electrical box and singlehandedly annihilated the entire police force. The girls barricade themselves in the Sheriff's house, while awaiting the arrival of the state police where Michael follows them and you'll have to see the movie to see the exciting conclusion.

So over all Halloween 4 is a good sequel, it's not the strongest in the series, but it's one of the better stories of the franchise. I do like Jamie Lloyd, she was an interesting addition to the story and the writers are making these movies very interesting. I'm glad they brought Dr. Loomis back in, it brings us back into the original Halloween and he'll never give up until Michael Myers is gone for good, which we know is not going to happen since we still have 4 more sequels after this one. But the 4th installment into the Halloween franchise is a good one so I do recommend that you see it if you get the chance.

6/10

. . . considering Halloween 4 came some eight years after the previous Myers-inclusive Halloween, considering Carpenter had even less influence, considering the plot took a slightly different direction, considering most other franchises really suck before they even get to 3 sequels.

The problem I have with most horror sequels is the fact it switches over to new characters every film, and none of the characters really get much sympathy. I dunno if I ever cared about anyone in Friday the 13th. But in the Halloweens (1,2,4,and 5), they've always taken the time to get to know the main characters first and stick with them for at least one sequel. Also in Halloween, we had a staple character besides Myers - Donald Pleasence - who returned to battle Myers every time until his untimely death.

I really liked the Jamie Lloyd character (I mean, getting decent actors in horror is difficult enough, but getting a good child actor in horror? Look at Child's Play! We struck gold with Danielle), her storyline, and the rest of the new characters for Michael to stalk. Oh yes, and of course, Donald Pleasence.

Alan Howarth parts with Carpenter, and takes the score solo, playing some fun twists to the main Halloween and the stalking theme, giving Jamie a theme appropriately derivative of Laurie's theme and intermingling all the themes in various places for an original sound with music that's been with us for 2 movies now.

Hopefully the viewer won't remember the end of Halloween 2 well enough to recall Laurie shooting Michael's eyes out, and him stumbling around slicing blindly as blood ran down his mask--wait, this is horror, everyone's accustomed to inconsistency with horror. Nevermind. Besides, compared to the plot holes of Curse of Michael Myers and then H20 neglecting Halloween 4 & 5, who cares about that minor detail.

Despite the new look, new characters, new tweaks, Halloween 4 can't escape the fact that it is a sequel slasher and so despite everything that's new (that works) . . . it's all the same. That's where my problem with the film lay, and that's why I can't rank this up there with some of my favorite horror films of all time. It's a good Halloween sequel, but there are better, more original films, within this series and especially in other series. Oh well.

It is ten years after Michael Myers escaped from the psychiatric clinic and went on the rampage and he has been in a coma ever since being burnt at the end of Halloween 2. But one of the ambulance drivers transporting him somewhere lets slip that he has a niece in Haddonfield and before you know it he's making his way back there.

Myers has become seemingly indestructable by now. He was seen emerging from a hospital as a human fireball at the end of art 2 and yet he seems to have escaped more or less unscathed. And howcome he can see anything when he was blinded in Part 2 just before being roasted alive?

However, if you overlook these points you'll find this is an entertaining and well-made film. Dr Loomis returns to Haddonfield after his ex-patient, played by Donald Pleasance at his best, and there are plenty of interesting characters and situations.

One of the better of the Halloween series, certainly much more worthwhile than the dismal Halloween 5 or most of the repetative Friday the 13th films.

After a seven year absence from the screen, Michael Myers returns. Set ten years after the first two films (#2 was filmed in 1981, but set immediately after #1 in 1978), THE RETURN OF MICHAEL MYERS opens with the infamous killer being transfered between psyhiciatric hospitals. Naturally, he escapes, and, tipped off that he has a niece (daugther of the now-deceased Jamie Lee Curtis character) living in Haddonfield, sets out to find her. Hot on his trail, as always, is Dr. Loomis (Donald Pleasence). After some were turned off by the more-gruesome deaths in HALLOWEEN 2, this film is more in-line with the original, relying more heavily on suspense and honest scares than blood and gore. For a nine-year-old, Harris delivers a good performance, and Donald Pleasence (as usual) is also good, with a performance that lets you know this is a been-there-don't-want-to-go-through-that-again character. Director Dwight H. Little brings a sense of atmosphere to the film and creates a number of suspenseful scenes. Thankfully, the make-shirt mob of gun-toting beer-guzzlers isn't as bad as it could have been. HALLOWEEN 4 is one of the best of the series.

Many seem to forget that the original Halloween was a great film despite its ridiculous premise, not because of it. Its sole purpose was to scare the audience and, as horror critic Kim Newman aptly put it, "its only message is "boo!". A feminist statement, commentary on teen sexual awakening, or political allegory, were not even notions during its development (Carpenter has expressed this sentiment repeatedly). In my opinion- and I am sure I am not alone on this- the beloved series has morphed into something virtually unrecognizable over the last few decades, largely due to the changing priorities of the studios and the expectations of the newer generation of filmgoers; Michael must be bigger and badder than ever and must kill off a character every ten minutes in the most gruesome ways imaginable. Easter eggs, cameos, and callbacks are a must. And Jamie Lee Curtis must kick a lot of butt. There's nothing wrong with that per se, but if that's what you're looking for, then Halloween 4 will be a snoozefest for you.

This third sequel to Carpenter's game-changer was fashioned more as a tribute to the original than a mere straight-up continuation. Director Dwight H. Little and company took the project as seriously as possible, treating the property with the utmost while not underestimating the audience's standards and expectations. Halloween 4 is not Carpenter- nor does it try to be. It invokes the original's mood and the spirit, if not necessarily the style. Little and writer Alan B. McElroy had a fairly straightforward blueprint to follow, but are clever in how they reappropriate certain beats and iconic shots from the original without merely carbon copying them: for example, take the moment when Sheriff Meeker and Deputy Logan are chatting about securing the windows as Meeker lights the lamp. If you blink, you will miss the outline of the Shape standing in the background behind a wall-an effect similar to when his white mask protrudes out of the darkness behind Deputy Logan by the stairwell. These sporadic, yet deceptively simple "now you see it, now you don't" motifs are genuinely creepy because they don't call attention to themselves; they also serve as a nice counterbalance to the film's more sensational, exaggerated moments that make up the final act. However, Little never strays too far from the simple formula that worked in the original, taking a cue from Carpenter in the way he prioritizes atmosphere and suspense over blood and guts.

Written in a scant eleven days, McElroy's script is surprisingly smart and well constructed (despite dialogue that is occasionally bland and over-expository). Particularly noteworthy is how he avoids "idiot plot" syndrome- a term Roger Ebert coined, in which the stupidity of the characters' actions makes it easier to kill them off and/or prevents the story from being resolved too soon. The characters in "Return" make smart and sensible decisions, for the most part. You will not find two horny middle-aged adults 'skinny-dipping' in a Jacuzzi in a desolate hospital after hearing reports of a murder spree taking place in the nearby vicinity. This time, our protagonists barricade themselves inside an unassuming location with firearms on hand and two very no-nonsense deputies at the helm, with an army of state troopers en route.

"Return" probably marks the official moment in the franchise where it is clear that we are no longer dealing with a flesh and blood psychopath, but something more omnipresent, spectral-like, and formidable ("You're talking about him as if he were a human being. That part of him died years ago," Loomis laments). By solidifying this version of the Boogeyman, the film lessens viewers' incredulity as his ability to be in several places seemingly at once becomes apparent. As with the first two, and unlike several of the series' subsequent entries, Halloween 4's presentation of evil incarnate is not meant to be taken literally.

The film ends with a final image that could serve as a prognostication of what the horror genre, for better or worse, would become in just a few short years to follow- reinforcing the underlying theme of Carpenter's original: that evil, of course, never dies. And the destruction of innocence is indeed one of the most tragic forms of evil.

Again, Halloween 4 is not Carpenter, but it's the last pure Halloween film in the franchise- on par with the 1981 sequel. Thankfully, even though he was motivated by dollar signs (has there ever been a producer who wasn't?), at least Moustapha Akkad didn't take the easy way out and pile on a lot of sex and gore to ensure higher box office returns. And I can't think of any other film that stretches a meager 3-million dollar budget as far as this film does (IMDB states its budget is 5 million, but I was corrected by the director himself).

On a final note: This film was made to be seen on the big screen. If you get a chance, catch it on its 35mm presentation. It's far better in almost every respect than its digital format and will help you overlook the 1:85 aspect ratio, continuity blunders, and those shoulder pads.