Horror Marathon: Friday the 13th/The Evil Dead/A Nightmare on Elm Street – Part Three

Here’s the third and final part of my journey into darkness as I systematically watch and review every movie from three horror series that share fictional crossovers. You can catch up with parts one (1980-1986) and two (1987-1991) by clicking on the links.

Spoiler warning: I’ve not blown every surprise or twist, but some of the more famous plot points are revealed.

19. Army of Darkness (1992, Sam Raimi)
Transported to the Middle Ages, a young 20th-century American called Ash must continue to fight the Deadites… and find a way to get home…

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What a bonkers movie. Gloriously so. Following on from Evil Dead II’s time-travelling cliffhanger, Ash (Bruce Campbell) is now in the year 1300 (seemingly in England). He’s captured by a local lord who wants to sacrifice him to a beast in a pit, but soon proves his worth and sets out to find the Necronomican, the book with the power to get him back to the present… Even more of a comedy than the previous Evil Dead film, Army of Darkness gets a lot of humour from Ash’s action-movie quips contrasting with the dialogue of the earnest locals (it’s a case of Schwarzenegger vs Shakespeare). The plot is structured like a Western, with Ash as the stranger who arrives to defend a town from an outside force – but rather than Henry Fonda or Eli Wallach, this outside force is an army of Ray Harryhausen-style skeletons. When the battle comes, the Monty Python-like humour continues but it’s now complemented by a siege sequence that spookily preempts Helm’s Deep from The Lord of the Rings by a decade. The whole movie is directed archly, with enormous energy and bags of wit. The hyper-kenetic and goofy style is close to a live-action cartoon and it’s brilliantly entertaining.
Eight copies of Fangoria out of 10

20. Jason Goes to Hell: The Final Friday (1993, Adam Marcus)
After being caught and killed by the FBI, the spirit of Jason Voorhees transfers from person to person to continue his carnage…

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After a deliberately slow opening, which reminds us of the simplicity of the earliest Friday the 13th films, Jason Voorhees is gunned down by FBI marksmen. But that’s not the end: it turns out that ‘Jason’ is actually a slug-like parasite that can transfer from person to person. Who knew?! He can enter his new victim’s body via the mouth or, in one crass instance, the vagina. Having possessed the new host, he can then continue to murder people in violent ways. Riiiiight… This film, which is the second Friday film to use the word ‘Final’ incorrectly, has another parade of forgettable characters who come and go without much impact. (Perhaps the exception is Steven Williams’s Creighton Duke, a bounty hunter who acts like he’s the star of his own action-movie franchise.) There’s also a lot of nudity, sex, violence and gore – the latter provided by Greg Nicotero, a revered special-effects supervisor. It’s an exceeding silly film, which has a wispy plotline about Jason only being vulnerable to his blood relatives. But it does have special interest for this blogging project because this is where Friday the 13th, The Evil Dead and A Nightmare on Elm Street collide. It’s revealed that Jason’s supernatural qualities are because his mother once used the Necronomicon book from The Evil Dead series to resurrect him. (Director Adam Marcus sneaked this cross-reference in under the radar.) Then the final image of the movie is deliberately setting up a crossover sequel: Freddy Krueger’s gloved hand appears out of the ground and pulls Jason down into hell…
Five Voorhees burgers out of 10

21. Wes Craven’s New Nightmare (1994, Wes Craven)
Ten years after starring in A Nightmare on Elm Street, actress Heather Langenkamp suffers from nightmares herself – and comes to believe that Freddy Krueger is breaking out of his fictional realm…

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Wow. Just… wow. It feels slightly unfair on all the other films in this blog series to include New Nightmare, given that it’s not a hastily churned-out slasher film. It’s a postmodern, avant-garde experiment; a clever-clever, cerebral movie that’s deep and dangerous. Series creator Wes Craven returns to write and direct a film in which Heather Langenkamp (Nancy in Nightmares 1 and 3) plays herself. The movie Heather is an actress recognisable from horror film A Nightmare on Elm Street, but is also a wife and doting mother. She’s already under pressure from a crank caller and bad dreams when her old colleague Wes Craven (also playing himself) asks her to reprise Nancy in a new Nightmare movie alongside Robert Englund (ditto). But this story is so much more than a behind-the-scenes in-joke. Langenkamp gives a fantastic performance, playing herself but doing so as an acting role – there’s no smugness or winking to the audience (well, not much). There are smart themes at play too: of fairy tales, of the power of motherhood, of the world being off-kilter thanks to a series of Californian earthquakes. The script also talks about the nature of horror stories – Craven himself explains that the evil of Freddy Krueger was contained within his film series, but now that the movies have ended he’s free to break into reality. And when he does, it’s a darker Freddy: he’s still played by Englund, but there are no quips or sense of glee. This Fred is *scary*. A marvellous, marvellous film.
Nine pairs of pyjamas out of 10

22. Jason X (2001, Jim Isaac)
When Jason Voorhees is awoken after five centuries in suspended animation, he resumes his murderous ways… IN SPACE!

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Treading the fine line between clever and stupid, this film sees a desperate roll of the dice from the Friday the 13th creative team. And it kinda pays off… After nine films with samey settings, Jason X is Galaxy Quest-style sci-fi. We begin in the year 2010 and a captured Jason Voorhees is cryogenically frozen – but so too, by accident, is one of the team working at the Crystal Lake Research Facility. Then we cut to 455 years later. Earth is now a sandstorm-blasted wilderness. A team of goggle-wearing survivors of an apocalypse discover the lab and take both bodies back to their spaceship, where they thaw them out… There’s a definite Alien-influenced, truckers-in-space vibe going on here. There are far too many characters, so while some pop more than others – the greedy professor, the android who (typically) wants to be more human – we never get enough to time to hang out with them. But the team are refreshingly vivid, broadly drawn and unpretentious. Anyway, as you’d expect, Jason wakes up and starts killing people – it’s predictable stuff and has some haphazard storytelling, but it’s generally more fun and more engaging than you assume it’s going to be. (It helps that the film is clearly not taking itself too seriously.) One death involving a face being instantly frozen in liquid nitrogen is terrific and there are also several flashes of effective comedy, such as a funny scene that spoofs the innocent days of the first Friday the 13th movie.
Seven costume designers who clearly have an obsession with outfits that show off the female characters’ breasts out of 10

23. Freddy vs Jason (2003, Ronny Yu)
Having been forgotten by the population of Springwood, Freddy Krueger recruits Jason Voorhees to enact a murderous campaign on his behalf…

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A cast of characters so one-note they could come from one of those lame comedies like Not Another Teen Movie. A script so cheesy and cliché-riddled it’s amazing that people thought it was good enough to film. A story devoid of any texture or depth. A dead-hand-on-the-tiller director who has no sense of suspense or style… The Friday and Nightmare series had both previously shown that they can experiment and do risky things – an out-and-out comedy, a metatextual drama, a diversion into science fiction – but given the chance to combine the franchises, the result is even more tawdry and cynical than you’d expect from the title. The worst film so far in this marathon – and that’s *really* saying something.
One schoolkid in the background of a scene who’s played by Kate from Lost out of 10

24. Friday the 13th (2009, Marcus Nispel)
When a group of young people venture into the woods, they encounter the sadistic killer Jason Voorhees…

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We’re now entering the era of the horror remake. The Texas Chainsaw Massacre (2003), The Omen (2006), The Wicker Man (2006), Halloween (2007) and others had already been churned out before this one came along. In the plus column – and we’re clutching for straws here – this new take on Friday the 13th is not just a lazy retread of the original plot. Instead, after we see the climax of the 1980 movie restaged, we cut to more than 20 years later. The main story is then told in two unequal parts: a 23-minute section showing us some unlikable kids hanging out in the woods, being pricks, trading insults, having sex and getting killed by Jason Voorhees… then the main bulk of the film features a different group of unlikable kids hanging out in the woods, being pricks, trading insults, having sex and getting killed by Jason Voorhees. The rejig was done to both honour the original film *and* have a fully formed Jason as the killer. But this is a really rotten endeavour, lacking any wit or new ideas. As cheap and tatty as the early Fridays could be, there was at least a knockabout charm and a sense that tongues were in cheeks. This, however, is po-faced nonsense that’s close to torture porn. Dreadful dialogue, a blandly attractive cast and some serious dips in momentum make up for a putrefyingly awful experience.
Two missing-person flyers out of 10

25. A Nightmare on Elm Street (2010, Samuel Bayer)
Several young friends in the town of Springwood, Ohio, realise they’ve all been dreaming of the same scary man with knives for fingers…

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This remake of the original A Nightmare on Elm Street movie – which retells the story fairly faithfully – begins with a grim, humourless, portentous mood. Characters are scared and on edge; violence isn’t far away from the surface; and Samuel Bayer’s direction lacks any zip. Sadly, this means the film has nowhere to go tonally. As things develop, everything feels muted – from the low-energy performances to the drab colour scheme – and therefore the threat, the deaths, the scares and the shocks don’t have the impact they should. (They have nothing to contrast against.) It’s a shame, actually, as this is not an incompetent film. The dreams are nicely shot, there are some good actors involved, and Freddy Kreuger’s backstory is more imaginatively revealed than it was in 1984. But it all feels monotonous and sluggish.
Five micronaps out of 10

26. Evil Dead (2013, Fede Alvarez)
A group of friends take a young woman to a cabin in the woods so she can go cold turkey, but soon a malevolent force is awoken…

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The third and final remake in this blogging project is, by some distance, the best. Following the same basic plotline as the original Evil Dead, it sees a group of young friends (one of whom is Gotham’s Jessica Lucas) staying at a decrepit cabin in the woods. But straightaway there’s a difference from 1981. Unlike that film’s holidaymakers, these kids have a more serious intent: they’ve taken their friend Mia (Jane Levy, very good) away from the city so she can sober up after a drug addition. But then one of the group discovers a strange book full of punky, John Doe-in-Seven-style scribblings. Reading aloud from it, he evokes an evil spirit that soon starts to torment his friends… This is a terrifying film, with more than a hint of The Exorcist in his grungy coarseness (sample dialogue from a possessed Mia: ‘Kiss me, you dirty cunt!’). With some amazing, old-school special-effects gags and an enormous amount of graphic content (check out the Grand Guignol ending as it literally rains blood!), Evil Dead is a superbly put-together shocker.
Eight nailguns out of 10

27. Ash vs Evil Dead (2015-18)
Thirty years after his experiences with the Deadites, Ash is living in a trailer park and working at a hardware store. But he can’t escape his past…

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More than a quarter of a century after Friday the 13th and A Nightmare on Elm Street, the Evil Dead series crosses over into TV. This spin-off series, which is a continuation of the films’ continuity, had Bruce Campbell reprise his most famous character for 30 episodes across three seasons. So goofy as to be essentially a sitcom with added gore, the opening episode, El Jefe, was directed by Sam Raimi, who filled it with slapstick and his idiosyncratic crash-zoom action. Ash is 30 years older than he was in the movies. He’s now living through a midlife crisis – picking up women in bars, taking drugs, living in a caravan strewn with pornography – and is noticeably more of a moron. (He’s kinda like the Fonz crossed with Mr Bean.) When Ash accidentally resurrects the same evil spirits that hounded him years before, he and his colleagues Pablo (Ray Santiago) and Kelly (Dana DeLorenzo) get involved in a horror plotline involving demonic possession.
Seven poetry reads out of 10

And relax…

Horror Marathon: Friday the 13th/The Evil Dead/A Nightmare on Elm Street – Part Two

My epic horror project continues… I’ve been watching three horror series that share narrative crossovers and recording my thoughts. You can read part one, which covered nine horror movies released between 1980 and 1986, by clicking on this link. Here’s part two…

Spoiler warning: I’ve not blown every surprise or twist, but some of the more famous plot points are revealed.

10. A Nightmare on Elm Street 3: Dream Warriors (1987, Chuck Russell)
Teenage patients in a psychiatric hospital must join forces to defeat Freddy Krueger…

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There are some big names involved in this second Elm Street sequel. After skipping the previous entry, creator Wes Craven returned to work on the script; Frank Darabont (the director of The Shawshank Redemption) also did a pass; and the cast includes Laurence Fishburne and a pre-fame Patricia Arquette. It’s decent stuff – spooky and unsettling, even inventive at times, and done with intent. You care for the characters and want to know what happens next… Kristen Parker (Arquette, giving a good performance) has been having nightmares about Freddy Krueger, so is admitted to a psychiatric hospital where all the other patients on the ward are teens who have been dreaming of him too. Handily, the institute’s hotshot new doctor has experience in this area, because she’s Nancy from the original film (played again by Heather Langenkamp, sadly looking too young to be convincing). She helps the group, but Freddy induces some of them to kill themselves, so the survivors team up to fight back… The surrealistic dream sequences are a treat, as are several of the special effects. A subplot about Freddy being evil because he was the product of rape, however, is maybe one idea too many.
Seven papier-mâché houses

11. Evil Dead II (1987, Sam Raimi)
Ash’s nightmare continues as the Deadites torment him in the cabin…

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More a remake of the first Evil Dead movie than a traditional sequel (a story-so-far prologue plays very fast and loose with continuity), this gleefully vibrant film sees Ash Williams (a foot-to-the-floor performance from Bruce Campbell) still trapped in the same cabin and still surrounded by demonic forces. Meanwhile, the daughter of the archaeologist who originally found the Necronomicon Ex-Mortis (the book that unleashed the horror in the first place) is on her way to the cabin with some friends… This is a relentlessly entertaining horror flick, clearly made with a relish for slapstick and cartoon violence. We get a razzle-dazzle hotchpotch of stop-motion photography, greenscreens, handheld shots, POV shots, crane shots, matte shots, model shots, puppets, prosthetics, monster make-up, blood, gore, decapitated heads and arch sound effects. Directed, shot and cut with a real sharpness, Evil Dead II rivals An American Werewolf in London as the best comedy-horror film ever made. (There’s also a subtle cross-reference worth noting here: Freddy Krueger’s glove appears above a tool-shed door. It was director Sam Raimi’s sly reference to A Nightmare on Elm Street, which had in turn shown characters watching The Evil Dead on TV.)
Ten copies of A Farewell to Arms out of 10

12. Friday the 13th: The Series (1987-1990)
When a pair of cousins inherit an antiques shop, they realise its contents are extremely dangerous…

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With the Friday the 13th movies taking so much money no matter the quality, Paramount decided to spin the brand off into television. Co-created by film series producer Larry Mancuso, the resulting show ran for three seasons totalling 71 episodes… and never once had any narrative connection to its parent franchise. The opening episode, The Inheritance, sees the bizarre death of an antique-shop owner, after which his niece Micki Foster (an often bra-less Louise Robey) inherits the business. Not wanting it, she and her cousin Ryan Dallion (an often expression-less John D LeMay) sell off all the stock. But then a strange man called Jack Marshak (Chris Wiggins) shows up and tells them the artefacts have all been cursed by the devil! They need to get them back one at a time, thereby establishing the episodic format of the series, and their first problem is that a malevolent, sentient doll has been given as a present to a little girl called Mary (Sally Polley)… A later genre show, Warehouse 13 (2009-2014), used much the same structure – two good-looking people hunt for powerful artefacts while being guided by an older mentor type – and indeed was accused of copying its premise from Friday the 13th: The Series. It did it so much better than this drivel, which has shallow storytelling and a drab cast of characters.
Four deals with the devil out of 10

13. Friday the 13th Part VII: The New Blood (1988, John Carl Buechler)
A troubled teenager is taken to Crystal Lake – the scene of her father’s death – but she triggers the return of Jason Voorhees…

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It’s quite an achievement to make a film so lacking in distinction. In a prologue, a young girl called Tina psychically yet accidentally causes the death of her father. A few years later, Tina is now a teen (Lar Park Lincoln) and her mother has brought her back to Crystal Lake to undergo therapy with a clearly dodgy doctor. While there, she somehow manages to magically resurrect Jason Voorhees, who has been trapped at the bottom of the water since the previous Friday movie. Meanwhile, there’s a gang of teenagers with 80s hairstyles staying in a cabin nearby – all are bland, all are clichés, and all are rotten. Guess what? Jason starts to pick people off, one by one. Most of the deaths are boring; at least one is inadvertently funny. There are then about 27 false endings.
Two pearl necklaces out of 10

14. A Nightmare on Elm Street 4: The Dream Master (1988, Renny Harlin)
When Freddy Krueger is resurrected he targets a previous nemesis and her friends…

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Things look promising as you go into this one. The director is Renny Harlin, who later proved he can handle suspense and spectacle with Die Hard 2 (1990), Cliffhanger (1993) and The Long Kiss Goodnight (1996); one of the writers is Brian Helgeland, who later won an Oscar for 1997’s LA Confidential. But it very quickly falls apart. And how. There’s an absolutely dreadful cast – even by slasher-film standards – playing friends who attend one of those 1980s American high schools where students drive expensive cars and fall into easily defined cliques. The key character is Kristen from the previous Nightmare film (recast with the anaemic Tuesday Knight), but soon Freddy is resurrected and targets the kids. Some of the dreams are quite fun, such as a body-horror-tastic sequence as Brooke Theiss’s Debbie grotesquely morphs into a cockroach, but this is an awful and very boring film. Admittedly, one decent idea bubbles away and then comes to the boil late on. Kristen’s meek and bullied friend Alice (Lisa Wilcox) initially seems to be an irrelevance, but she becomes stronger and more determined the longer the story goes on. By the end, she’s the one character who stands up to Freddy: as she prepares for the showdown she ritualistically ‘suits up’, collecting mementoes given to her by her late friends.
Three waterbeds out of 10

15. Freddy’s Nightmares (1988-1990)
When murderer Freddy Krueger walks free from court, the policeman who arrested him is tormented by his failure – and resorts to extreme measures…

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Watching on as the Friday the 13th series got a TV spin-off, New Line Cinema chose to do the same with their franchise. Freddy’s Nightmares, however, maintained more of a link to the Elm Street movies. The opening episode, No More Mr Nice Guy, acts as a prequel to Wes Craven’s 1984 film. Even with subsequent instalments telling self-contained horror plots, Freddy cropped up in a further seven stories as well as emceeing the show in framing scenes. The series ran for two seasons, totalling 44 episodes. No More Mr Nice Guy starts before Freddy (Robert Englund) has the ability to enter people’s dreams. He’s a child murderer standing trial and everyone knows he’s guilty. But when the judge learns that he wasn’t read his rights when arrested, Krueger has to be let go. This causes anguish for the grieving parents, as well as for cop Timothy Blocker (Ian Patrick Williams), the man who made the mistake. So they hunt Freddy down and burn him to death, with Blocker lighting the fire. As a piece of television, it’s occasionally shot with some style by film director Tobe Hooper (The Texas Chain Saw Massacre, Poltergeist), but the drama is feeble and the cast appalling.
Five twins out of 10

16. Friday the 13th Part VIII: Jason Takes Manhattan (1989, Rob Heddon)
When Jason is resurrected from a watery grave, he slips aboard a ship headed for New York City…

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The Friday the 13th series hits New York! Well, actually, it takes about an hour’s running time before the characters reach the Big Apple. Before that, we’re on a ship full of post-grad students. A resurrected Jason sneaks on board and slowly starts to kill them one by one… The film is garbage, admittedly, and has noticeably less gore than some previous Fridays – but at least it breaks free of the woods-and-cabins setting. There’s also a *bit* of drama going on here and there, such as nominal lead character Rennie (Jensen Daggett) having a fear of drowning caused by a prior encounter with Jason. When the survivors finally reach Manhattan, there’s some location shooting in Times Square and a subway – yet the action mostly takes place in non-descript, deserted backalleys. It’s a shame. The scenes of Jason on the rampage in New York are quite effective, but for practical and budgetary reasons they have to be fleeting.
Five pens supposedly used by Stephen King in high school out of 10

17. A Nightmare on Elm Street 5: The Dream Child (1989, Stephen Hopkins)
Freddy Krueger targets a group of young friends (again), but one of them has fought him before…

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The ‘final girl’ survivor of the previous Nightmare film, Alice (Lisa Wilcox), is graduating from high school alongside her boring friends. But she’s also dreaming about Freddy Krueger’s mother, a nun who was gang-raped by lunatic criminals. Before long, the boring friends begin to die in bizarre ways, and it’s in these sequences where the film succeeds the most. Director Stephen Hopkins (Predator 2) distinguishes the real world from the nightmares by using a lot of long lenses in the former and wide-angles in the latter. The nightmare sequences are also lively and grotesque and feature some old-school special effects – Alice’s boyfriend is violently attacked by a motorbike while he’s riding it; her hot pal Greta is force-fed food by Freddy; a friend who likes comic books is sucked into his own drawings; and a sequence near the end of the movie features MC Escher-like staircases. However, the story – some nonsense about Alice’s unborn son and Freddy’s dead-but-in-limbo mother – never really takes flight.
Five scar-faced limp-dicks out of 10

18. Freddy’s Dead: The Final Nightmare (1991, Rachel Talalay)
After a spate of suicides and strange deaths, Freddy torments Springwood’s last remaining teenager…

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The Elm Street story moves 10 years into the future for a film intended at the time to be the last in the series. It’s batshit crazy – a befuddled mix of ambitious special effects, goofy comedy, superfluous celebrity cameos and visual gimmicks. It’s never scary, and sometimes frustrating, but it zips along and is ultimately rather likeable. A social worker takes a troubled boy with amnesia back to his hometown to try to find out who he is. Given that Freddy Krueger has by now killed off all its children, Springwood has been repurposed from a sleepy Midwest suburb into a creepy, desolate frontier town populated by weirdos. (One character likens it to Twin Peaks.) The guest cast – several kids, Lisa Zane’s social worker and a bored-looking Yaphet Kotto – disappoint, as they often do in these films, but we get some truly surreal scenes in the dreamworld. One sequence, for example, features a hearing-impaired character and uses some smart sound design. We also delve deeply into Freddy’s backstory, which gives Robert Englund much more varied material to play than in the previous entries.
Six 3-D glasses out of 10

The third and final part of this horror odyssey can be read here.

Drácula (1931, George Melford)

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An occasional series where I write about works inspired by Bram Stoker’s 1897 novel Dracula…

These reviews reveal plot twists.

Setting: Castle Dracula in Transylvania; aboard a ship on the open seas; London. Renfield mentions that he was called to the bar in 1928, so we’re in the 1930s.

Faithful to the novel? The story of the production of this Universal Pictures film is both famous and fascinating. It’s a Spanish-language movie produced at the same time and on the same sets as the more famous English-language version starring Bela Lugosi, with this movie’s crew working at night while the main unit slept. Doubling up like this was an occasional practise in the days before post-dubbing dialogue was possible and it allowed the studio to release the same title in different territories. Using the same script and sets, therefore, the Spanish film Drácula has the same storyline as the English version; both were adaptations of the Dracula stage play so the plot only loosely follows Stoker’s book. See my earlier blog here for more details.

Best performance: Eva Seward (played by Lupita Tovar, an actress who lived to be 106 years old, dying only in 2016) is a noticeably more spirited and charismatic character than her counterpart in the Lugosi movie.

Best bit: During production, the Spanish version’s crew kept a keen eye on what the other team were doing and often saw ways of improving the action. One example comes when Van Helsing realises the mysterious foreigner newly arrived in London is a vampire. In both films, the doctor spots that Dracula has no reflection, but look at how the two shots work compositionally. In Tod Browning’s English-language version (left), the debt owed to the stage play is obvious: we’re looking at flatly arranged actors, the mirror is small in the shot and actor Edward Van Sloane has to turn away from the camera to look at it. However, when the same beat was filmed for the Spanish film (right), we can see the shock on the face of Van Helsing (Eduardo Arozamena) and at the same time the mirror is large and significant in the frame.

Review: If you know the Bela Lugosi movie, it’s an uncanny experience to see different actors performing the same actions on familiar sets. And in some ways the comparison does the more famous film no favours. This lesser-seen Dracula is visually more competent and ‘modern’; the action flows a bit more smoothly and the creepy scenes get under your skin (often by using silence to generate tension). But while director George Melford was popular with his cast, the fact he himself didn’t speak Spanish can’t have helped with the performances, which to this non-Spanish-speaking reviewer sometimes seem stilted and uncertain. One exception is Carlos Villasias, who is effective as Conde Drácula. Uniquely among the cast he was allowed to watch footage of the other film because producers wished him to imitate Bela Lugosi. In the end, he maybe gives the better performance.

Eight London newspapers that apparently print their front-page stories in Spanish out of 10

Horror Marathon: The Hellraiser series

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A few months ago, I saw the horror film Hellraiser for the first time. Impressed and seduced by Clive Barker’s twisted tale, I then decided to delve into its many sequels – some of which Barker was involved with, some of which he’s pointedly disowned (“If they claim it’s from the mind of Clive Barker, it’s a lie. It’s not even from my butt-hole”). I found a wide variety of quality within the series, ranging from the abjectly awful to the surprisingly complex. Here’s my journey into darkness…

SPOILER WARNING: Minor plot points will be revealed.

1. Hellraiser (1987, Clive Barker)
When a married couple move into a new house, wife Julia discovers her missing brother-in-law is in the process of returning from hell…

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Produced for under £1m, this British-American horror movie was directed by Clive Barker and based on his own novella The Hellbound Heart. Searing and stylish, it’s a compelling watch. Affable American Larry (Andrew Robinson) and his uptight British wife, Julia (Clare Higgins), move into a new home. Then Julia discovers an awful truth. Larry’s rebellious younger brother, Frank (Sean Chapman), was recently sucked into hell after toying with dark magic in the hope of an intense pain/pleasure experience. The device that allowed entry to that world is an ornate, cube-shaped puzzle box. Frank is now in the process of escaping, but is being chased by the demonic Cenobites (Doug Bradley and others)… For all its horror elements – intense violence, torture, nightmarish threats, *extremely* graphic gore – this is a story about a twisted love triangle. It’s a psycho-sexual drama about Frank and Julia’s obsessional affair that almost entirely takes place in one suburban house. (Where that house is, by the way, is difficult to answer. Almost every character is American, yet the filming locations are demonstrably in England.) Added into the mix is Larry’s daughter, Kirsty (Ashley Laurence), who becomes the heroine of the story as she uncovers the horror going on…
Nine pet shops out of 10  

2. Hellbound: Hellraiser II (1988, Tony Randel)
Later that night, Kirsty is in hospital – but her doctor is showing an odd fascination in her case…

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This sequel – made with only light involvement from Clive Barker – is sometimes appealing and has a certain Gothic strangeness. But it’s also often cheesy and hammy and is far less nuanced than the original. Kirsty is in hospital after her experiences in the first film. Her doctor, Channard (Kenneth Cranham), already knows about the Cenobites and is obsessed with them and their mythology. He eventually teams up with Julia (Clare Higgins again, playing her more archly this time) and there’s then a lengthy sequence set in hell, which ticks several predictable boxes: eerie music, endless corridors, macabre circus performers, stop-motion animation, wind and smoke. Meanwhile, the lead Cenobite – now officially credited as Pinhead (Doug Bradley) – gets both a music-video entrance and an interesting backstory.
Four bandages out of 10

3. Hellraiser III: Hell on Earth (1992, Anthony Hickox)
A TV reporter investigates a violent death and encounters the Cenobites…

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Frustrated journalist Joey (Terry Farrell from Star Trek: Deep Space Nine) stumbles across a story when she sees a mutilated victim being brought into a hospital. This leads her to an underground nightclub, where the slimy owner has recently bought a strange statue… The first Hellraiser film financed by the Weinstein brothers’ Dimension Films company, Hell on Earth is certainly trash. There’s a lot of crass dialogue and a parade of bad actors (several of whom sound like they’ve been dubbed in post-production). Director Anthony Hickox is also a fan of pyrotechnics, Dutched camera angles and early 90s coloured lighting, then gives us a drawn-out, overblown action-movie finale – so subtly is not the order of the day. But there’s just enough atmosphere and arresting images to keep you watching and entertained. Especially fun is the sequence where Joey is given a ghostly tour of the backstory by Pinhead’s human form (Doug Bradley sans make-up).
Six red roses out of 10

4. Hellraiser: Bloodline (1996, Alan Smithee)
On a space station in the far future, a man tells the story of the demon-summoning puzzle box and says he’s set a trap…

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Rather joltingly, we start in space. It’s the year 2127 and an eccentric man is holed up in a space station he designed himself. The vibe in part Alien, part Babylon 5. Then the man, Paul Merchant (Bruce Ramsay), tells a strange story… We cut back to France, 1796. Merchant’s ancestor Phillip (Ramsay again) is a toymaker. He’s built an ornate puzzle box for a client, who then uses it in a bizarre ritual that brings a demon called Angelique (Valentina Vargas) from hell to earth… It’s creepy if hammy stuff with decent production design, editing and music – and we’re also back to the first film’s themes of obsession and of pain, violence and torture being aspects of sexual pleasure. The bulk of the film is then set in the modern day (1996) and features another member of the Merchant family, an architect called John (Ramsay for a third time). Angelique is still around and targets him and his family. Pinhead (Doug Bradley) also shows up… which is a shame because as he takes centre stage (on the orders of the studio), the sexy and intriguing Angelique fades into the background and the film becomes less interesting. By the time we eventually return to the space station, the momentum has dropped out of the story.
Six twin security guards out of 10

5. Hellraiser: Inferno (2000, Scott Derrickson)
A police detective is tormented by hellish visions as he attempts to track down a missing child…

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LAPD detective Joseph Thorne (the David Boreanaz-alike Craig Sheffer) likes speed chess, wordplay and prostitutes but is trapped in a dour marriage. At a crime scene he finds the puzzle box we’ve seen in previous films and nabs it for himself. But when he absentmindedly opens it, his life starts to get *weird*: a hooker he’s slept with is brutally murdered and he begins to have visions of demons… Rather than the baroque horror of the earlier movies, Inferno – the first straight-to-DVD Hellraiser – feels more like a seedy cop movie. In fact, the connection to the Hellraiser concept is pretty loose and Doug Bradley’s Pinhead barely features. Instead, we get clichés such as an angry police captain, a gullible sidekick, and a minor character played by a famous actor who turns out to be the villain. (The production designers were also surely big fans of David Fincher’s 1995 film Seven.) Scott Derrickson, who later made the Marvel movie Doctor Strange, directs with a music–video sensibility, so we do get some striking horror images, but the script lacks clarity. There’s a gumshoe plot going on about a mysterious man called the Engineer who may have kidnapped a child, but the film doesn’t seem that interested in it. There are loose ends, a central performance that doesn’t convince, and a final nightmarish third that toys with silliness. Nevertheless the dreamlike weirdness and tough-guy edge make it reasonable watchable.
Six fingers out of 10

6. Hellraiser: Hellseeker (2002, Rick Bota)
After his wife dies in a car crash, a man is haunted by hallucinations and other strangeness…

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This sixth Hellraiser sees the return of the original film’s Kirsty (Ashley Laurence), but in the first scene she drowns after a car accident, and her widower, Trevor (Dean Winters), is left in a bad way. Physically fine, he starts to realise that his memory is not reliable – and because the film is from his point of view we share in his confusion. Did he have an affair? Did he visit a strange warehouse? Was his relationship with Kirsty as happy as it seemed in the opening scene? The film is playing interesting games with perception and reality, presenting us with a puzzle made up of conflicting evidence. (It feels more like a paranoia thriller or an episode of The Twilight Zone than a horror movie. You can also detect the distinct influence of Christopher Nolan’s movie Memento.) As with the preceding Hellraiser, Doug Bradley’s Pinhead is little more than a cameo – just a few brief glimpses and then an exposition scene at the end where we get a pleasing twist ending. The cast lets the film down, especially Winters, who can’t quite convince us of the horrors Trevor is experiencing. However, this is still a surprisingly complex and engaging film.
Seven camcorders out of 10

7. Hellraiser: Deader (2005, Rick Bota)
A journalist is drawn into a terrifying world while investigating Deaders, a group attempting to gain control of the Cenobites’ realm…

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This is a grimy, putrid film: aside from brief scenes at the proto-hipster offices of UK newspaper The London Underground, the story plays out is decaying, flaking, dark spaces; there are flies and sludge and filth. Journalist Amy Klein (Kari Wuhrer) is sent to Bucharest to report on a death cult called the Deaders. Her only lead turns out to be a corpse, but she then finds the all-important puzzle box. Opening it, she summons Pinhead – who’s engaged in some kind of battle of wills with the Deaders for control of the Underworld – and her life gets more and more bizarre… The film has a few tense scenes and effective scares, as well as some genuinely out-there weirdness (following a lead to a Metro train, Amy finds an entire carriage given over to a steampunk-themed orgy with Hustle’s Marc Warren holding court). The longer it goes on, though, the more muddy the storytelling gets.
Three VHS tapes out of 10

8. Hellraiser: Hellworld (2005, Rick Bota)
A group of gamers are invited to a party connected to their favourite game, but can they trust the event’s host?

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Clichés abound in this eighth Hellraiser entry, which sees a batch of noughties slackers (one of whom is future Superman Henry Cavill) attend a party but encounter hellish experiences and violent deaths. Let’s list a few of the hamfisted, overused tropes: portentous church music and close-ups of Christian iconography to suggest religious overtones; early scenes with clunky expositionary dialogue; a ‘real’ scene being revealed as a dream; gamers being addicted to an online game that’s clearly too basic to engage anyone; a Gothic mansion; a rave where extras dance out of time to the music; a midrange star cast as the villain (Lance Henriksen); a cute female character who wanders off on her own for no reason; sex scenes shot like a music video… It’s a dreadful film: slow, stupid and simplistic.
One ultraviolet, 24-hour, wildly popular and yet utterly purposeless, embraced-by-the-masses internet roleplaying game out of 10

9. Hellraiser: Revelations (2011, Victor Garcia)
Two young Americans go on a hedonistic trip to Mexico, where they encounter violence and a mysterious puzzle box…

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Shot in just three weeks on a tiny budget – as a cynical ploy by Dimension Films to retain the Hellraiser rights – Revelations should be utter garbage. There are daytime-soap performances among the new characters while Doug Bradley has jumped ship after eight appearances as Pinhead (to be replaced by someone eminently forgettable). The film is also crudely edited and relies too heavily on Blair Witch-style camcorder footage. But despite these limitations, it’s just mediocre rather than offensively awful. In the plus column, the movie digs down deep into the same sordid subject matter as the original Hellraiser – it’s another story about perverse pleasure and obsession. In fact, there are several visual echoes and plot nods to Clive Barker’s 1987 movie, as well as the same love of extreme gore. But it’s still mediocre.
Four bullshit genericas out of 10

10. Hellraiser: Judgment (2018, Gary J Tunnicliffe)
Three police detectives hunt down a serial killer called the Preceptor, but the investigation leads to an encounter with hellish denizens…

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In an unspecified city, a trio of detectives are on the trail of a macabre murderer who kills ritualistically for religious reasons. It’s all very sub-Seven, but then the cops comes across the Cenobites, who are attempting to find new ways of tempting souls into hell… There are several clichés of low-budget filmmaking on show here – shaky camerawork, poor framings, a remarkable lack of people on screen who aren’t the lead actors, and a general sense that corners are having to be cut. The design work is decent (check out the Terry Gilliam-esque typewriters!) and gore freaks will love the amount of graphic mutilation on show. But this is grim, pretentious drivel with some really inept storytelling and a fairly rubbish cast.
Two Star Wars quotations (‘What an incredible smell you’ve discovered’) out of 10

Horror Marathon: The Halloween film series

To celebrate 40 years since the release of influential horror film Halloween, I recently rewatched it… and then delved into all the sequels, spin-offs and reboots. It was often fun. It was often dispiriting. And that was just trying to keep track of all the times films ignore previous entries in the series. Here’s my journey into darkness…

Spoiler warning: Minor plot points may be revealed.

1. Halloween (1978, John Carpenter)
Fifteen years after he murdered his sister, psychiatric patient Michael Myers escapes hospital, returns to his home town and targets a group of young friends…

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It’s a staggeringly simple story – a ruthless, seemingly unstoppable killer picks off victims one by one – and has been copied endlessly ever since. But the first modern slasher film is still the best. Made for just $325,000, it’s a stripped-down, economical movie: trim, taut and terrifically constructed. Carpenter’s script has no flab on it and his shooting style is a masterclass in how to create mood and suspense. The widescreen anamorphic format keeps you looking for threats and danger in every corner of the frame, while long Panaglide shots give scenes a formal, elegant beauty. (The latter also sometimes act as Michael’s point of view, such as in the film’s bravura opening: a four-minute long take as he stalks and murders his sister.) But for a film about a violent killer, there’s actually little gore on display; Halloween is more about tension and scares. In her first ever movie, Jamie Lee Curtis is very good as virginal lead character Laurie Strode, one of the horror genre’s definitive final girls. Donald Pleasance adds a bit of class as Michael’s manic psychiatrist, Dr Loomis. And the excellent incidental music (written by the director) is both creepy and catchy.
Nine jack-o’-lanterns out of 10.

2. Halloween II (1981, Rick Rosenthal)
Later that same night, Michael Myers continues to terrorise teenagers in the town of Haddonfield…

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This direct follow-on picks up at the very moment that film one finished. John Carpenter co-wrote the script and produced, but later said he didn’t think he did a very good job. An injured and shaken Laurie (Jamie Lee Curtis again, though given far less to do this time) spends most of the film in the world’s quietest hospital as Michael’s killing spree continues. Meanwhile, Dr Loomis continues trying to hunt Michael down. It’s a shlockier film than the original: there’s deliberately more gore, because the horror genre had moved on swiftly in the three years since the original, and more nudity too. But it’s still tense and scary enough to be basely entertaining. The imaginatively staged deaths are far more interesting than the new sacrificial characters, while the incidental music is again fantastic.
Retcon alert! In the first film, Michael targeted Laurie simply because he happened to see her near his childhood home. But we’re now told that they’re siblings: Laurie was adopted at a young age by the Strode family after older brother Michael went loopy. Not even Dr Loomis, Michael’s long-time psychiatrist, knew about the link until this film.
Six hydrothermal baths out of 10.

3. Halloween III: Season of the Witch (1982, Tommy Lee Wallace)
A doctor and a grieving daughter investigate a mysterious toy company… 

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The oddity of the Halloween series: a self-contained horror story that has nothing to do with Michael Myers, Laurie Strode or the town of Haddonfield. In fact, it’s not even a slasher film. Season of the Witch is more like the kind of plot later seen in The X-Files – there’s horror and there are deaths, but it’s a conspiracy thriller about a spooky business run by a man with a secret, and the film is more about computers and CCTV cameras than a crank with a carving knife. It’s *wonderful*, a real gem that deserves a much better reputation. There’s a fantastic oddball tone to the whole thing (while still being scary), as well as an amazing score by producer John Carpenter and some very classy camerawork by cinematographer Dean Cundey (Halloween, the Back to the Future series, Jurassic Park).
Retcon alert! The original Halloween film actually exists in this story’s fiction – characters watch a TV advert for an upcoming screening.
Eight Shamrock Novelties masks out of 10

4. Halloween 4: The Return of Michael Myers (1988, Dwight H Little)
On the tenth anniversary of his killing spree, Michael Myers escapes once again and returns to Haddonfield to target his seven-year-old niece…

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He’s back. After Season of the Witch’s attempt to morph the series into an anthology of different threats, Michael Myers was resurrected and wheeled out for a third iteration of the same basic slasher storyline. It’s 1988, 10 years on from the events of the first two films, and Michael learns that his sister Laurie has died in a car crash. (Jamie Lee Curtis, by now a huge star thanks to world-class comedy turns in Trading Places and A Fish Called Wanda, didn’t want to come back.) So instead Michael goes after her young daughter, the aptly named Jamie played a not-bad Danielle Harris. Meanwhile, poor old Dr Loomis gives chase again, this time with a scarred face and a walking stick after the trauma he suffered in film two. Original co-writer/director John Carpenter had left the series after Season of the Witch, which may explain why this film is so plodding and why most of the deaths lack the shock factor of the original or the flamboyance of Halloween II. But let’s give the movie an extra mark for its unsettling – and genuinely unexpected – ending.
Retcon alert! Both Michael and Loomis were patently killed in Halloween II, but now we’re told that they were ‘nearly’ burnt to death.
Five roofs out of 10

5. Halloween 5: The Revenge of Michael Myers (1989, Dominque Othenin-Girard)
A year later: the presumed-dead Michael Myers returns to Haddonfield (again) to continue his persecution of his niece…

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After a recap of film four, which has some new footage to explain that Michael actually survived a hail of bullets and crawled away into the woods, we cut to a year later. It’s Halloween again and the town of Haddonfield is tempting fate again by celebrating it. After her trauma in the last movie, young Jamie (Danielle Harris, impressively intense throughout) is now in a children’s hospital. She’s troubled, mute and scared, while Dr Loomis (a frail-sounding Donald Pleasance) is still keeping a watch over her. And we meet a whole new gang of kids for Michael to kill: a desperately drab gang, one of whom is a prick who dresses up as Michael Myers *as a prank*. This film was directed by Dominique Othenin-Girard, who later made the appalling Omen IV. He does a terrible job. It’s shot and cut like a TV movie; many scenes feel rushed or abrupt; Michael’s first kill is confusing because the camera ‘crosses the line’; there’s precious little tension; the story is forgettable; and the deaths lack theatricality. The script is atrocious too.
Retcon alert! Not so much a contradiction, more a confirmation, but Michael’s supernatural quality is finally made explicit in this film. In earlier films we’ve been invited to question whether he’s something more than a man – he’s repeatedly survived being shot and burnt, for example. But now we learn that he has a psychic connection with his niece.
Three comedy cops (scored by cartoon incidental music) out of 10

6. Halloween: The Curse of Michael Myers (1995, Joe Chappelle)
Michael escapes from a secretive cult who have been holding him prisoner for six years and continues his quest to murder his family…

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Decidedly unscary and exceedingly boring, this film sees the series sink lower than ever before. Jamie (recast with JC Brandy) is now a teenager and has been held captive by ritual-loving weirdos for six years. She gives birth, then escapes with her baby. So uncle Michael gives chase – back to Haddonfield (again)… A lost-looking Paul Rudd (Clueless, Friends, Ant-Man) plays Tommy Doyle, a character who was a child in the original film; he’s now an adult with a Michael Myers obsession who pervs at his next-door neighbour who just happens to be related to Laurie Strode and lives in Michael’s childhood home. A visibly unwell Donald Pleasance returns for a final time as Dr Loomis (the actor died before the film was released), and the plot picks up hints from Halloween II that there’s a supernatural reason why Michael always strikes on 31 October. But this is a truly abysmal film. The script is half-arsed horseshit, and it’s directed with the nuance of a wrecking ball. There’s an obsession with empty, artificial, horror-movie clichés, for example, while none of the characters feels even remotely real.
Retcon alert! At the end of Halloween 5, we saw a mysterious ‘man in black’ character take Michael away but leave Jamie behind. Now, we’re told that he kidnapped Jamie too – and both have been locked away in an underground bunker ever since.
Two radio phone-ins out of 10

7. Halloween H20: Twenty Years Later (1998, Steve Miner)
Having faked her death, Laurie Strode is living under an assumed name and working as a school headmistress. But then, two decades after her encounter with brother Michael Myers, he returns…

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Laurie Strode is living under a new identity, having gone into hiding after the events of Halloween II. She has a 17-year-old son, who goes to the secluded private school where she works, but she’s dogged by nightmares and has a drink problem. On the 20th anniversary of her encounter with Michael, her brother shows up again intent on killing her, so Laurie decides to fight back… A *galactic* leap up in quality from the previous few movies, this project was instigated by Jamie Lee Curtis. The script has life and bounce to it, while there’s a confidence and a competency to the staging. Because it’s the postmodern 1990s, we also get plenty of knowing references to other horror films – the Friday the 13th series, Scream 2, Frankenstein, Psycho… (Among several nods to the granddaddy of slasher films is the casting of Jamie Lee Curtis’s mother, Psycho star Janet Leigh, in a small role.) The school setting, teenage characters and funny dialogue are also reminiscent of TV’s Buffy the Vampire Slayer, while a more-interesting-than-usual guest cast (Adam Arkin, Michelle Williams, LL Cool J) only add to what is a very enjoyable slasher movie.
Retcon alert! The last three films are wiped from the narrative slate completely. Laurie’s off-screen death, Laurie’s daughter, Michael’s extra killing sprees – all are now ignored. This presents the oddity that Michael and Dr Loomis’s deaths in Halloween II are being retconned for a second time.
Eight ice skates out of 10

8. Halloween: Resurrection (2002, Rick Rosenthal)
A group of kids take part in a reality show filmed inside Michael Myers’s childhood home. But they don’t know he’s in the house too…

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After an opening 15-minute sequence that’s basically an extended Jamie Lee Curtis cameo so she can be on the poster, we cut to Haddonfield University. A gang of students (all thoroughly dull except for Katie Sackhoff’s spirited Jen) win places on an internet reality show called Dangertainment. The plan is for them to spend the night in Michael Myers’s long-abandoned house and for people to watch them online. In other words, the postmodern pep of Halloween H20 has given way to noughties narcissism. Unfortunately for the contestants, Michael has sneaked into the house and rather slowly bumps them off one by one… It’s rarely tense or scary and you never really care what’s happening. But in the film’s favour, there’s some satire of reality shows – the producers have salted the house with artificial scares, for example, while viewers assume the murders are staged. There’s also a neat bit of writing when the murders kick off: a friend of a contestant is watching online, so texts her with guidance (‘He’s climbing up the stairs,’ etc). Meanwhile, Busta Rhymes plays Dangertainment’s producer and almost keeps a straight face when he confronts Michael: ‘Trick or treat, motherfucker!’ It’s not a great movie, but it’s not as awful as some of the previous ones.
Retcon alert! Halloween H20 ended with Laurie decapitating Michael Myers, but we’re now told that it wasn’t Michael. He’d earlier switched places with an unfortunate paramedic who was unable to tell Laurie who he was because his larynx had been crushed. (Why he didn’t remove the mask, though, is another matter.)
Five internet Emmys out of 10

9. Halloween (2007, Rob Zombie)
After a killing spree, a young boy called Michael Myers is committed to a psychiatric hospital. But 15 years later he escapes to go after his surviving sister…

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This remake of the 1978 original also acts as a prequel. It begins with more than half an hour focusing on Michael Myers as a child – a topic covered in less than five minutes by John Carpenter. We see him kill his elder sister, his stepfather and a school bully – all of whom have it coming because they’re so obnoxious – then his sessions with psychiatrist Dr Loomis (Malcolm McDowell). So rather than Michael being a character-less, motiveless ‘Shape’, we see events from his point of view and understand why he is how he is. All this means it’s nearly the halfway point before we meet teenager Laurie Strode (Scout Taylor-Compton) and enter a dreary retelling of the 1978 plot. The grown-up Michael is played by the 6’9″ Tyler Mane, while Danielle Harris (Jamie in Halloweens 4 and 5) plays Laurie’s pal Annie and has to suffer the indignity of acting topless for several scenes after Michael attacks Annie while she’s having sex. That coarseness sums the whole movie up, really. This is the kind of horror film that’s all about a sustained tone of unpleasantness, a focus on suffering and pain, and characters who are pricks for no reason. It’s a dreadful, depressing couple of hours, full of caked blood and sharp edges and gore and rape and a grimy colour palette.
Retcon alert! Obviously, being a reboot, all the previous movies are ignored. In a change from the 1978 original, Michael and Laurie are siblings straight away here.
One taco deluxe supreme out of 10

10. Halloween II (2009, Rob Zombie)
A year later: Michael Myers returns to Haddonfield…

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Just like Rob Zombie’s first Halloween movie, this sequel has a fetishist fascination with gore, blood, suffering and general unpleasantness. The film goes intense and graphic early on, which means there’s never any chance of suspense or dynamic storytelling: if it’ll show *that* early on, you think, then it’ll do anything. After a looooong opening sequence which is then revealed to be a nightmare, the body of the film takes place a year after the events of the previous film. Laurie (Scout Taylor-Compton) has PTSD: she’s now a wild child and says fuck a lot. Meanwhile, Dr Loomis (Malcolm McDowell) is living off the fame of the Myers case, while the not-dead-after-all Michael Myers has been having Freudian dreams about his mother. (Soon, for some reason, Laurie’s having dreams about her too – a woman she hasn’t seen since being a baby.) Michael then heads back to Haddonfield and begins killing again… This dreadful, ham-fisted, charmless travesty has two light-hearted things of note. It’s the first Halloween film to mention Mike Myers, the Austin Powers actor. And, because she’s been to a fancy-dress party, Laurie spends the last third of the story dressed as Magenta from The Rocky Horror Picture Show.
Retcon alert! Michael Myers was shot in the face in the previous film, but now we’re told that no body was found.
One shaggin’ wagon out of 10

11. Halloween (2018, David Gordon Green)
Forty years after his killing spree, Michael Myers escapes custody and heads for the victim that got away: Laurie Strode…

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Thankfully, the latest entry in this up-and-doooooooown series is a really entertaining slasher film made with thought and craft and decent storytelling. Wisely turning its back on the humourless, hackneyed tone of the Rob Zombie reboots, this sequel to the 1978 original may be yet another Halloween film that pretends previous films don’t exist – but it’s so entertaining that doesn’t really matter… Forty years after Michael Myers tormented her, Laurie Strode (Jamie Lee Curtis) is a hardened, embittered and lonely women. She’s kept at a distance by her grown-up daughter (Judy Greer) and has spent four decades preparing for Michael’s return. (In promotional interviews, Curtis likened this version of Laurie to doomsday preppers.) When Myers (inevitably) escapes and goes on another murderous rampage, Laurie’s granddaughter Allyson (Andi Matichak) gets in the way… This is a horror film that never forgets that horror only works in relation to other stuff: we need to know and care for the characters; the darkness must contrast with the light. So we get plenty of moments of humanity and humour, and a well-cast and interesting group of characters. As well as Laurie and her family (all very good), Allyson’s babysitting mate Vicky and the young lad she’s looking after are especially fun. All that means that when the tension builds, it’s effective. And when the violence comes it’s savage. Add in some clever callbacks to John Carpenter’s original and you have a terrific way to cap forty years of carnage.
Retcon alert! Yet again, lots of previous sequels are ignored… including the last time Laurie Strode returned to the series and ignored previous sequels! Also, the fact Michael and Laurie are siblings is now downgraded to a rumour.
Eight basements out of 10