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Romier S

Halloweeen (2018) - Danny McBride and David Gordon Green, Carpenter producing

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This has been announced for some time. McBride has been involved wiring the new film which is a direct sequel to the first movie and completely ignores all of the other films. Carpenter is producing and is apparently scoring the new movie as well. Jamie Lee Curtis is in and we’re getting a trailer this Friday.

 

The movie is releasing this October. The original is one of my favorite films of all time so I’m genuinely excited for this. McBride is a huge Halloween fan and is pumped to do what they are calling the last Halloween movie.  While waiting for the trailer, here the first stills from the movie:

 

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Also, I’ll take the opportunity to reinforce a truth that always needs to be reinforced - FUCK Rob Zombies Halloween movies. 

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Yep. It’s meant to be an older Michael in every way. The cool part? They got Nick Castle to play him in a few scenes.

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2 hours ago, Romier S said:

Also, I’ll take the opportunity to reinforce a truth that always needs to be reinforced - FUCK Rob Zombies Halloween movies

THIS.  A.  MILLION.  FUCKING.  TIMES.

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The original Halloween has aged very well.  Beyond the fact that it's very well-made, it lacks the god damn trope aware bullshit that's infected everything since the Joss Whedon/Kevin Williamson era of the mid to late 90's.

 

I'm looking forward to it.

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4 hours ago, foogledricks said:

Wonder if they casted Shatner's face again?

 

From what I read, the guy sculpted it based on the Shatner mask.  Looking forward to the trailer Friday.

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4 hours ago, Dimness said:

The original Halloween has aged very well.  Beyond the fact that it's very well-made, it lacks the god damn trope aware bullshit that's infected everything since the Joss Whedon/Kevin Williamson era of the mid to late 90's.

 

I'm looking forward to it.


For a time post-Scream, sure but the horror genre has never been quite as eclectic as it is right now and there's plenty of films that aren't "infected" by self-awareness. Though I take umbrage with any insinuation that Cabin in the Woods is anything but the pinnacle of trope self-awareness and happens to be damned brilliant in the process for being self aware enough to make fun of itself for being self-aware.;)

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On 6/6/2018 at 12:08 PM, Romier S said:


For a time post-Scream, sure but the horror genre has never been quite as eclectic as it is right now and there's plenty of films that aren't "infected" by self-awareness. Though I take umbrage with any insinuation that Cabin in the Woods is anything but the pinnacle of trope self-awareness and happens to be damned brilliant in the process for being self aware enough to make fun of itself for being self-aware.;)

 

/scratches chin and nods

 

Okay, I'll allow that one.

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Cinema Scope review is positive:

 

http://cinema-scope.com/cinema-scope-online/halloween-david-gordon-green-us-midnight-madness/

 



Green’s script, penned with Jeff Fradley and Danny McBride, dutifully hits most of the expected nods to fans of the franchise (some more successfully than others), and the callbacks continue with a new score by Carpenter himself and the return of Nick Castle as Michael (or “The Shape,” as he’s credited in the 1978 original). The latter move turns out to be a great one: a potentially hollow nostalgic ploy actually reveals Castle as the key to making Myers a genuinely terrifying spectre. None of the Michaels that have come since the first film have quite managed to combine physical menace with creepy, childlike fascination like Castle.

 

While some of the in-jokes and nostalgic mood-setting come off as a little too pleased with their own cleverness, the real effectiveness of this iteration of Halloween is the engagement with the franchise’s treatment of PTSD. Past sequels have dealt with Laurie’s various post-Shape afflictions as manifestations of trauma and the ability (or inability) to get over it. Green’s Halloween touches on this interpretation of Laurie’s mental state, and even adds the wrinkle of passing on her own neuroses to future generations. But in the end it smartly leans into the idea of Myers as a manifestation of pure Evil, and the ways such darkness can imprint itself upon us. 

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