Halloween 4: The Return Of Michael Myers
After both the box office failure and predominantly negative (and unfair) critical reviews of Halloween III: Season Of The Witch, the future for the Halloween franchise seemed unsure. Original creators John Carpenter and Debra Hill never intended or wanted to do Halloween II. They would have preferred their Michael Myers story be a single film and instead they wanted to continue the franchise as a series of stand alone horror tales that all took place on Halloween. But when Halloween III failed to launch this version of the franchise, producer (and Godfather) of the Halloween franchise Moustapha Akkad decided it was time to go back to the basics and bring back Michael Myers.
The opening of Halloween 4: The Return of Michael Myers is not only one of the most beautiful introductions of the entire series, but it perfectly captures the odd underlining uneasy feeling of the fall season. It’s a series of primarily landscape shots setting up Halloween, the holiday. Decorated pumpkins are set up at stoops, a gust of wind blows through the fields and the overall sense of dread that comes with the Halloween is palpable.Continue Reading
It’s pretty interesting to look back now in retrospect at Halloween II knowing what we do about other successful horror franchises and realizing that at the time of its release there had never really been any previous attempt in horror history to continue a story involving a modern day bogeyman. Back when John Carpenter unleashed the original Halloween into theaters in 1978 to an unsuspecting audience, it became not only the most successful independent feature of all time (and held that record up until The Blair Witch Project came out in 1999), but also became easily the single most influential film of the entire '80s “slasher” craze that would follow. (Even if Carpenter did lift quite a few bits from Bob Clark’s Black Christmas, the predecessor to Halloween). No one, including the filmmakers, the producers or investors could’ve ever predicted just how vast the success of Halloween would be, and so, they never, ever intended on doing a sequel.
But just as the '80s came, suddenly sequels didn’t seem like such a bad idea. Hell, Jaws had a sequel just a few years shy of the start of '80s and that did really well, so with the new crop of baddies showing up in such films as Friday The 13th, The Burning and My Bloody Valentine, why wouldn’t the studio want to bring back Michael Myers? And so, much to the reluctance of John Carpenter and Debra Hill who instead wanted to turn the Halloween franchise into a series of unrelated horror stories that took place around the famed holiday (and which they would attempt to do with Halloween III: Season Of The Witch), instead Halloween II became a direct sequel to their original, picking ...
Though it almost shares a title (but little else) with director Enzo G. Castellari’s 1978 spaghetti-war flick The Inglorious Bastards, which was just a dirtier Dirty Dozen knockoff, Quentin Tarantino knows a good title when he sees it. With a minor spelling change he gave us his own comic book WWII movie, Inglourious Basterds. With a definite nod to François Truffaut’s The Last Metro, it’s like a Powell & Pressburger (49th Parallel, One of Our Aircraft Is Missing) piece of propaganda, if those guys were still making those flicks in the 1970s. What at first glance may seem like a nasty and mean Nazi revenge fantasy is actually a tribute to the power of cinema and the power of Tarantino’s beautifully composed dialogue. This may be the most talky war script ever written, but unlike the pointlessly inane ramblings of the film he made two years before this, Death Proof (his half of the double feature movie Grindhouse), this dialogue is used to constantly build suspense, and in the hands of an expert actor like Christoph Waltz, it often sounds like an evil poetry. Aided by the clever score, pirated from other films, and the sharp period detail, Inglourious Basterds proved to not only be one of Tarantino's most ingenious creations, but is a film that has aged well (in the brief years since) and is sure to take its place with the best of the genre (lets call ‘em Naziploitation flicks).
Inglourious Basterds is an equally shared international ensemble piece divided into chapters. First you are introduced to a cat n’ mouse playing German SS man, "Jew Hunter," Col. Hans Landa (Waltz in a mannered piece of scenery chewing that deservedly won him an Oscar). The film opens with him interrogating a French dairy farmer who is hiding a neighboring Jewish family in his floorboards. He toys with the man before his soldiers shoot up the floor, but the teenage daughter Shosanna (Mélanie Laurent) manages to escape into the countryside. Meanwhile an American unit commanded by a very Southern Lt. Aldo Raine (Brad Pitt acting like a cross between Yosemite Sam and Foghorn Leghorn) leads a group of Jewish soldiers known as the "Basterds" on a dirty trick mission to torture and wreak havoc on Nazis, becoming legends and the thing of nightmares to Nazis, including even a flummoxed Hitler (Martin Wuttke). A few years later, Shosanna, now known as "Emmanuelle Mimieux" (and resembling a young Catherine Deneuve), runs a hip cinema in Paris and is any movie geek’s dream girl. Unfortunately she has the unwanted attention of a young German war hero, Fredrick Zoller (Daniel Brühl of Good Bye, Lenin! and The Edukators). He is even starring as himself in a recently completed film about his sniper exploits called Nation’s Pride, directed by head Nazi propagandist Joseph Goebbels (Sylvester Groth). Zoller convinces the higher-ups, including security-chief Hans Landa, to hold the premiere at Shosanna’s cinema, with the German high command in attendance, including the Führer himself. Shosanna and her boyfriend hatch a plan to burn the theater down during the screening.Continue Reading