HALLOWEEN (2018)

October 18, 2018

 Greetings again from the darkness. I believe the term is ‘full circle’. It was 1978, and I vividly recall waiting anxiously for the opening night start of John Carpenter’s HALLOWEEN. Now, 40 years later, I’ve just watched what is likely (hopefully!) the final entry of a franchise that spans between 9 and 12 movies, depending on which ones you count (although, apparently we are only supposed to count the first one and this latest). Carpenter’s original film gave us the backstory of 6 year old Michael Myers killing his sister Judith in 1963, and subsequently being confined to a sanitarium before showing up on All Hallows Eve in 1978 for what is now referred to as The Babysitter Murders.

Writer/director David Gordon Green (STRONGER, 2017) and co-writers Danny McBride and Jeff Fradley make it clear from the start that this is a direct sequel (ignore the others!) to the 1978 original, although having a sequel and its original share the same title is itself a bit confusing. For anyone unfamiliar with Carpenter’s original classic (the one that kicked off an entire genre of slasher films), the filmmakers offer up a couple of fame-seeking British podcasters (Rhian Rees, Jefferson Hall) to spell out the history and gory details of Michael Myers and Haddonfield, Illinois. Michael has been institutionalized for four decades, never uttering a single word to his doctors … neither the now-deceased Dr. Loomis nor his protégé Dr. Sartain (Haluk Bilginer mimicking some of Donald Pleasance’s oratory style). Thanks to a not-unexpected bus wreck, and the amateurish prank of the podcasters, Michael Myers is reunited with his William Shatner mask (looking a bit rough these days) and sets off to kill innocents and track down his nemesis, Laurie Strode.

The challenges of filmmakers in 2018 versus those in 1978 aren’t just limited to disposing of podcasters and teenager’s cell phones. They must also be cautious about treating women as victims, and here Laurie Strode is anything but. She has spent these years preparing herself and training her now-grown daughter Karen (Judy Greer) what to do once (not if) Michael Myers returns. Mother and daughter are now somewhat estranged, connected mostly by Laurie’s granddaughter Allyson (newcomer Andi Matichak). It’s kind of clever how the filmmakers empower the three generations so that together they may face off against the evil that has haunted their family for so many years.

The film has a retro 1970’s look and feel, and it is well-served as a tribute/follow-up to the original. Some familiar shots are mirrored and references to the original are noted through the dialogue … though some of the humor seems a bit forced (specifically young Jibrail Nantambu who is being babysat). The opening credit sequence makes good use of the same font and color scheme from 40 years ago, and the rotten jack-o-lantern coming back to life is a nice touch.

The return of Jamie Lee Curtis as Laurie is what completes this haunting circle. Carpenter’s HALLOWEEN was her big screen debut, and though she still tends to go over the-top at times, this obviously would not have worked without the daughter of Tony Curtis and Janet Leigh. In fact, this story is mostly focused on the psychology of Laurie and her PTSD, as we never learn much about what makes Michael Myers do what he does. Others returning from the original film include Nick Castle as The Shape (though James Jude Courtney shares the role this time), and PJ Soles in an all-too-brief and quite memorable appearance. As a veteran cop, and described as the first officer on the scene 40 years ago, Will Patton’s character appears to want to be anywhere but where he is (side note: Mr. Patton looks almost identical to Paul Simon these days).

Huge carving knives gleaming (despite the low light) make several appearances, and many of Michael’s grisly murders are handled off camera. But don’t mistake that for a lack of violence or gore – there is an abundance. Keep in mind that the film is positioned as a direct sequel to the 1978 film, and fans of that classic should be quite satisfied. Even the iconic 1978 theme song is re-worked by John Carpenter, his grandson Cody Carpenter and musician Daniel A Davies. The recognizable notes are a bit slower and bulked up through synth. As with most horror films, it would be pretty easy to point out the flaws, inconsistencies and necessary assumptions, but it’s one of the few that actually works if you avoid thinking too much and just “enjoy” the mythology and horror.

watch the trailer:

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Posted by David Ferguson

WINTER SLEEP (Kis uykusu, Turkey, 2014)

December 18, 2014

 

winter sleep Greetings again from the darkness. Brace yourself for 3 hours and 19 minutes of heavy listening. Yes, the film was named Palme d’Or at the most recent Cannes, and the dialogue is exceptionally well written, but this isn’t one you can just kick back and enjoy. It requires some effort. The two big “action” sequences involve a 10 year old boy tossing a rock and later, his too proud father dropping something into a fireplace. The real action occurs between the ears of the viewer as we assimilate the moods and nuances and double-meanings that accompany the stream of conversations.

Award-winning director Nuri Bilge Ceylan co-wrote the script with his wife Ebru Ceylan, and that probably attributes to the sharpness and poignancy of the relationships between Aydin (Haluk Bilginer) and his wife Nihal (Melisa Sozen) and his sister Necla (Demet Akbag). Much of the film is devoted to one of two things: Aydin making himself feel important, or Nihal and/or Necla voicing their opinions on why he isn’t. While that may sound simple, the wordplay and grounded performances often leave us with the feeling that we are eavesdropping on very private conversations.

Filmed in the breathtakingly beautiful Cappadocia region of Anatolia, the geological spectrum contrasts mightily with the near claustrophobic interior scenes that dominate the run time. In fact, when one of the characters does venture outdoors, viewers will find themselves breathing easier and in relief of the stressful intimacy of other scenes.

Hotel Othello is cut directly into one of the more picturesque hillsides of the area, and owner Aydin spends his days locked away in his office, kicking off his latest article bashing societal and morality changes within the village. Aydin has a pretty easy life, as he has inherited the hotel and numerous income producing rental properties from his father. Aydin’s career as a stage actor also adds a bit to his local celebrity (and ego). He fancies himself an important man with an important voice, and never hesitates to broadcast his charitable offerings.

Aydin lives at the hotel with his much younger wife Nihal, and his recently divorced sister Necla. The dysfunction abounds as none of the three much respect the others, and manage to express this in the most incisive, passive-aggressive ways possible. There are two extended (each pushing 30 minutes) exchanges that are unlike anything you may have ever seen on screen. One has Necla letting Aydin know what she thinks of his articles, while the other has Nihal finally coming clean with her feelings of being held back, emotionally captive. Both scenes are captivating and powerful, yet voices are never raised and facial expressions are crucial. This is intimate filmmaking at its best and most uncomfortable … psychological warfare would not be too extreme as a description.

Conflict is crucial for a dialogue-driven film. Some of the best include My Dinner with Andre, Who’s Afraid of Virginia Woolf?, and 12 Angry Men. These are the type of movies that cause us to study all the subtleties within a scene … not just what is said, but how it is said and how the message is conveyed. Pride, loneliness and despair run rampant through the characters here and the philosophical discussions force each to lay bare their soul.

For so little action, an undercurrent of wild emotions flows through every scene. In addition to the three leads, there is a character named Hamdi (an Islamic teacher/advisor, played by Serhat Mustafa Kilic) who plays the role of peace-keeper and mediator. His constant smile is but a mask he is forced to wear in his role, and I found his character the most painful of all to watch.

The title may be interpreted as either a “hibernation” or “sleep-walking through life’s final stages”, and both fit very well. The hotel provides a cave-like hiding place for Aydin, as he pretends to play his final role – that of an important man in the village. There are some truly masterful moments in the film, and it’s easy to see why it appeals to only a certain type of film goer. Inspired by the short stories of Chekhov (“The Wife”, “Excellent People”), as well as the writings of Tolstoy, Dostoyevsky, and Voltaire, means the viewer is investing emotionally in characters quite full of resentment and oh so dishonest with themselves. It’s an undertaking that is difficult, but does offer the opportunity to test one’s listening skills and ability to read body language. It also comes with wisdom such as … Donkeys lead camels (you’ll have to watch the movie!).

***NOTE: as a caution, there is a scene that could be considered animal cruelty. There is an ongoing investigation into whether a law was broken.

watch the trailer:

 

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Posted by David Ferguson