During the Doctor’s travels, he (now she) has met many historical figures and seen many important events. In the latest episode the adventure focuses more on historical events than sci-fi antics.
The Doctor has been attempting to bring her new companion back to Sheffield. Unfortunately, they land in Montgomery, Alabama just before the famous Bus Boycott instead. They meet Rosa Parks (Vinette Robinson) and discover she is surrounded by artron energy. More than that, she’s attracted the focus of another intergalactic traveler (Joshua Bowman).
“Rosa” was one of the most anticipated episodes in the new series because of its co-writer Malorie Blackman. Blackman is a celebrated writer in the UK, specializing in written novels for children and young adults. Racism and prejudice is a theme she likes to examine so it is no surprise she wrote an episode about one of the most famous Civil Rights activists.
Modern Doctor Who have made episodes focusing on historical figures – Agatha Christie, Vincent van Gogh, and William Shakespeare being central in episodes. But there was always a sci-fi element to the story. Van Gogh was plagued by a monster only he could see, and the disappearance of Agatha Christie was due to an alien wasp. “Rosa” aimed to be more educational, being close to events and the Doctor and the companion have to ensure history stays on course.
Picture Shows: Ryan Sinclair (TOSIN COLE), Martin Luther King (RAY SESAY)
Doctor Who was originally meant to be an educational show that would teach children about history. During the First Doctor’s run there were historical episodes about Marco Polo, The Aztecs, and the Romans. In these episodes, there was no alien or sci-fi threat. “Rosa” is a homage to that kind of episodes and it continues Chris Chibnall’s back-to-basics approach, stripped down, simple stories.
There is a sci-fi enemy in the form of Krasko. He attempts to make small changes to events so that would have a big effect later on. The Doctor and her companions have to make sure history stays on course. It’s a small story with big implications. Rosa Parks and all the residents of Montgomery do not realize they are in a bigger story which is refreshing for Doctor Who.
The episode also looks at how racism affects Ryan and Yasmin. Ryan gets a harsh lesson when he is polite to a woman and suffers the full force of a racist onslaught. Both companions suffer at the hands of segregation laws and policies that dominated the Deep South. They have a moment together talking about how the modern day racism they experience. The episode acknowledges that there are still issues involving racism in the modern day, though there’s been massive progress since the ’50s.
“Rosa” also had a few comedic moments. The best came when Ryan and Graham interrupt the bus driver James Blake (Trevor White), uses his racism to their advantage. Ryan also speaks using London terms like ‘bruv’. The episode references the Doctor’s new gender as well, and how she’s not used to it. But another joke where Graham pitches the iPhone falls like a lead balloon.
During the Steven Moffat era Doctor Who was becoming formulaic. Chibnall has brought new life to the series, using the franchise to different stories. It is refreshing to see Doctor Who downplay the sci-fi for a change. “Rosa” is a strong episode to show to younger children.
Marvel shows Luke Cage & Iron Fist were both suddenly cancelled the past couple weeks. Both shows were axed after two seasons. However, this doesn’t mean these two are gone forever. Beyond their link to the other Defenders, the two could team up for a Heroes for Hire series. Will Netflix try to bring these characters together, like their comic book roots? If they do, they may want to look to Thor: Ragnarok for guidance.
Many have theorized the shows’ cancellations may be due to Disney moving forward with its own streaming service. Disney is putting together its own line-up of Marvel shows, starring notable characters like Loki and Scarlet Witch. This new Disney development could mean a battle with Netflix for ownership of the various Marvel shows. Whether Disney snatches the Defenders up, or if Netflix can keep its heroes, both Luke Cage and Danny Rand are still available for hiring.
If these characters are allowed back on screen, why not bring them together? Fans could get both its fallen heroes for the price of one series. Getting the duo back together, and making it one program, would be a great way to bring them back. The two of them had some of the strongest scenes in Netflix’s team up series The Defenders. There’s also still a lot someone could explore with the dynamic between them. Combining the two also means we can enjoy the characters for half the time commitment. Pulling the best from both cancelled shows, and making a new combo series, could be a great way to freshen up the characters.
Mike Colter and Finn Jones, Marvel’s THE DEFENDERS
This potential team-up series is similar to the blueprint Marvel’s laid out for one of its biggest characters. If you want a great example of how Marvel freshened up some movie heroes, look no further than Thor: Ragnarok. In Ragnarok, Thor and The Hulk teamed up along with other Asgardians to take down Hela. Ragnarok was far and away the best Thor film AND the best Hulk film. Creating a new kind of movie for these characters reinvigorated them, as solo characters and as a pair. If there are any characters that could do with a similar shake-up, it’s the two newly series-less heroes.
Netflix making a more comedic series would be a nice change of pace. Their various Defenders series are all the same general gritty tone. The third Thor film got way more praise than the other films, largely due to its director, Taika Waititi. Waititi made Thor: Ragnarok far more comedic and light-hearted than the Thunder God’s other solo outings. Putting a goofier spin on the Luke Cage & Danny Rand dynamic could definitely reinvigorate any new series. It’s like how the various DC shows on the CW differ in tone. Arrow is a gritty action series, while The Flash is way more campy and light-hearted. Giving Marvel a new show with a new tone would be refreshing.
Also, this pairing would bring out the best of Iron Fist. Marvel’s Iron Fist was the lowest rated series out of all the Marvel-Netflix team-ups. Similarly, the Hulk’s two solo movies were horrifically bad, and he hasn’t had his own movie since. But The Hulk was a main character in Ragnarok, and a delightful character at that. If Marvel could find new ways of incorporating Hulk, Netflix could do the same with the Immortal Iron Fist. Focusing on a team narrative with Danny, as opposed to his boy-billionaire-whatever routine, would give Rand a much-needed rebranding.
Chris Hemsworth and Mark Ruffalo, THOR: RAGNAROK
It’s also clear that the teams behind both shows aren’t ready to say goodbye to these two heroes. Take Finn Jones’ Instagram post, following the news of Luke Cage’s cancellation. Or take the fact that Luke Cage was far into development for a third season, with several scripts already complete. Heck, some Iron Fist skeptics were swayed after the series had a strong sophomore season. Unless Netflix is forced to hand these heroes over to Disney, it’d be a shame to say goodbye.
Putting the heroes in a new style of show could help both reach their full potential. The two characters could live on in a series that could inject some fun into the MTVU. Just because Disney & Netflix can’t get along doesn’t mean Luke & Danny can’t. Netflix has a chance to use these heroes to make something new. A Heroes for Hire series could be the breath of fresh air that Ragarok was for the Thor franchise.
The Holiday Calendar stars Kat Graham (Vampire Diaries) as a photographer who may or may not be wrapped up in a magical experience during Christmas that brings her lots of laughter and love.The Holiday Calendar comes to Netflix in November of 2018.
About The Holiday Calendar
Official Description: A struggling but talented photographer inherits an antique holiday advent calendar, the contents of which seem to predict the future. Will this magical calendar lead her to love this holiday season?
Kat Graham played a witch in Vampire Diaries and Tupac’s friend Jada Pinkett (yes, the actress) in All Eyes On Me, and here she gets to play the plucky lead of a romantic comedy made by Netflix. Director Bradley Walsh has an eclectic filmography that includes the science fiction TV series Helix, the traveling band drama Kaya, and quite a few rom-coms set on Christmas.
Kat Graham as Abby Sutton
Quincy Brown as Josh
Ethan Peck
Ron Cephas Jones as Gramps Sutton
Romaine Waite as Mitch
Genelle Williams as Sarah Sutton
Laura de Carteret as Judy Sutton
Rodrigo Fernandez-Stoll as Fernando
Harris Shore as Ralphie
Ali Hassan as Singh
Telysa Chandler as Laurie
Netflix is coming for our sentimental heartstrings, so watch out Hallmark Channel movies! The Holiday Calendar will be watched at my house by my wife who loves these kinds of things. I will end up watching it too while playing video games. What is there to say about these kinds of things? They’re sappy, simple, predictable, but also comforting, calming, and warm just like the holidays should be. So, go with it. Put this on your calendar and let’s all let our hearts feel a little cheesy magic.
Johnny English Strikes Again is the newest entry in the spy spoof series headlined by Rowan Atkinson of Mr. Bean fame. The film follows Johnny English as he is forced to come out of retirement to find an evil mastermind after a cyber-attack reveals the identity of all of the active operatives in Britain.
This film was almost certainly made as an international cash-grab. The series has always had a better track record across the pond than it did domestically. The first film was far from a smash hit here, only making $28 million stateside, but cashing in on $132 million in other territories. The sequel was even less successful in the States, making just over $8 million, but was a bigger success overseas, making upwards of $150 million. Prior to its U.S. release, the newest entry has already racked up north of $80 million worldwide, so it is sure to be an overall success.
Rowan Atkinson stars as Johnny English in JOHNNY ENGLISH STRIKES AGAIN, a Focus Features release.
Having watched the first two films in preparation, this newest entry is perhaps the most intriguing of the three. It contains the signature bumbling humor for which the series and its star are known, but delivered in a somewhat more balanced way. The plot is neither overly ridiculous, nor overly grim. Instead, the film has a nice balance between the humorous and action-packed elements.
The film had some very funny moments. Although a few of the recurring Atkinson gags are worn out by now, the film throws in some newer elements that are hilarious. Although the series has always been based on fish-out-of-water comedy, this entry takes it to the extreme, as it places the now 63 year-old actor in situations with new and futuristic technology. The film also uses a lot of irony, which elicited many laughs too. Although the humor isn’t particularly highbrow, it is amusing nonetheless.
The action storyline in this film was also relatively interesting. It is predictable and follows the same formula as the other two films, but this one has more intelligence because of the impact of modern technology on the plot. Although the villain is still a generic bad guy, the threat he poses feels more real and pertinent than the other two films.
Rowan Atkinson stars as Johnny English in JOHNNY ENGLISH STRIKES AGAIN, a Focus Features release.
The film’s execution also benefits from modern technology. The technical aspects are of far higher quality because of newer camera equipment and special effects. This makes the film more exciting and more likely to appeal to the younger boy audience at which the film seems to be aimed. However, the modern is blended with the old school, such as English’s signature Aston Martin, that is sure to please the target audience’s parents and older fans of the franchise who saw the original when they were younger.
Overall, while Johnny English Strikes Again may not have been an entirely necessary re-visit to the series, it is amusing enough that it is likely to be a hit with its overseas target audience. It is worth checking out if you are a fan of Rowan Atkinson or have young kids interested in a goofy spy romp.
Johnny English Strikes Again opens in theaters October 26.
In his directorial debut, Jonah Hill (Superbad, The Wolf of Wall Street) brings us mid90s, a coming-of-age tale set amidst the skater culture of the 1990s. The film follows Stevie, a thirteen year-old boy who struggles to fit in with his new, older friend group while also dealing with issues at home.
First and foremost, do not go into this movie expecting that – since it is from the mind of Jonah Hill – it will be the goofy/raunchy comedy to which most of his career has been dedicated. No — this is a much more complex, artistic film, and while there are touches of raunch here and there, it is always for the purpose of developing the protagonist rather than getting a cheap laugh.
That being said, the movie is still quite funny. There was a lot of great situational comedy throughout and also plenty of hilariously-written dialogue. Perhaps the funniest scene in the film involves a security guard played by Jerrod Michael, as the protagonist and his friends exchange repartee with him. This scene in particular shows the amount of talent both behind and in front of the camera.
Photo Credit: Tobin Yelland.
The movie also does an excellent job of developing the protagonist. He is (for the most part) likable and relatable, and the story really captures the essence of what it means to be going through adolescence. Although some elements of the story are slightly exaggerated, the overall tone and feel are quite sincere. This is especially the case in the scenes between the protagonist and his mother. The mother, while maybe used too sparingly, is an effective tool to complement the protagonist and establish realism.
However, the film contains many of the issues to which first-time directors are typically particularly susceptible. For example, the movie struggled with its rhythm at times: some scenes are too long, feeling overly self-indulgent, whereas other scenes feel like they are cut short. Additionally, there are a few scenes that didn’t totally work. While they won’t be discussed in detail to prevent spoilers, it should be obvious as to which scenes these are that were jarring.
Photo Credit: Tobin Yelland.
Additionally, the character of the brother didn’t work particularly well in the story. He needed to be developed more thoroughly and given more to do in the story. Yes, the character does provide a few strong scenes, but the film definitely could have done more to explore the antagonism and relationship between him and Stevie. Instead, the character seems like it was inserted predominantly to push the plot along and was only given two or three truly deep scenes. This was also the weakest performance by Lucas Hedges yet.
The movie is pretty consistently well-executed, though. There is one scene whose quality is questionable, but otherwise, it is very strong. The visual style is impressive. The film embraces the retro feeling without lingering on nostalgia. The old school look and sound of the movie are used simply to show the universality of the story. This is how life was back then, and similarities can be seen with how life is today. Sunny Suljic’s lead performance is very compelling, too. He brings a lot of depth to the role, capturing the dichotomy of the character’s mature and immature qualities.
Overall, mid90s is a solid coming-of-age film. It has many funny moments, multiple endearing moments, and shows that Jonah Hill is not just a talented actor, but also an up-and-coming filmmaker.
mid90s is now playing in select theaters and expands October 26.
Founder of Electronic Arts’ Motive Studios, and former founder of Ubisoft Toronto, Jade Raymond, officially left EA yesterday for good. Raymond departed Ubisoft in 2014 for unknown reasons and joined EA in 2015, founding Motive Studios while also running Visceral Games studio.
Image via Jade Raymond Twitter
EA shut Visceral Games down in October of 2017, shortly after the studio presented a demo Star Wars game. Amy Hennig, Star Wars designer, and game writer worked on that demo with Jade Raymond. EA, wanting to shift away “single player linear games”, moved the unnamed Star Wars game to its Worldwide Studios in Vancouver. Not long after, Amy Hennig decided to part ways with the company in June of 2018.
With Jade Raymond leaving, everything Raymond was running falls onto Samantha Ryan’s shoulders. As of now, Ryan is overseeing EA mobile, Maxis, BioWare studios, and Motive.
“EA Studios is focused on bringing more creative new games and content to players,” stated an EA spokesperson to GameSpot. “Laura Miele and her team have taken several steps internally to better support our game makers in this pursuit, such as expanding Samantha Ryan’s portfolio to lead additional studios, including Motive. Samantha is known for driving creative design and supporting game teams, so they can bring their visions to life. She is a deeply experienced game-maker with a gameography that spans from The Simsto Batman: Arkham Cityto No One Lives Forever to the highly-anticipated Anthem.”
In another twist of events, EA apparently kept the Visceral Star Wars game, asking Raymond to tweak it more to their liking. There were rumors Raymond wasn’t happy with the changes, and its confirmed she tried to keep much of the original data. Now that Raymond is leaving, it can only be assumed that Ryan will be taking over. But what does that say about this mysterious Star Wars game?
“With this change, Jade Raymond has decided to leave Electronic Arts,” says the same EA spokesperson. “In her time with us, Jade helped to build great teams, and our projects underway at Motive and other studios continue unchanged. We’re appreciative of all of her efforts, and we wish Jade all the best as she moves on to her next adventure. We are driving greater creativity into everything we do across EA Studios, and we’ll look forward to sharing more in the months to come.”
Meanwhile, there’s still a Star Wars game in production under Respawn (which is not under Samantha Ryan’s authority). Jedi Fallen Order (Respawn game) is expected to hit shelves late 2019 (around the same time as Episode IX premiers).
Should Disney and Lucasfilm continue to let EA make Star Wars games? Should EA invest in Battlefront II or in developing new games? Let us know in the comments below. “May the Force be with you, always.”
The Prodigy stars Jackson Robert Scott (Locke and Key, It) as a kid with some issues who is in the midst of working them out with a psychiatrist but things slowly become sinister and supernatural.The Prodigy will terrify audiences in 2019.
About The Prodigy
Official Description: A mother concerned about her young son’s disturbing behavior thinks something supernatural may be affecting him.
Director Nicholas McCarthy is no stranger to horror having previously directed The Pact, At The Devil’s Door, and the “Easter” segment of the horror anthology Holidays. If the trailer here is any indication, McCarthy will have another notch on his belt when it comes to making entertaining horror films. Writer Jeff Buhler is no stranger to horror either having written Midnight Meat Train (2008), Nightflyers (2018, and the upcoming Pet Sematary reboot for 2019. It’s a dynamic duo of modern horror that’s bringing The Prodigy to life. In front of the camera, the trailer reveals Colm Feore who might look familiar because he’s been in 24, House of Cards, Chronicles of Riddick, and a whole freakin’ lot more.
Taylor Schilling as Sarah
Brittany Allen as Margaret St. James
Colm Feore as Arthur Jacobson
Jackson Robert Scott as Miles
Peter Mooney as John
Olunike Adeliyi Rebecca
David Kohlsmith as Miles at 5 Years Old
Michael Dyson as Farmer
Byron Abalos as Penmark Instructor
Martha Girvin as Foster Mom
A fantastic team behind the camera and in front too. Feore is a veteran but young Jackson Robert Scott shows plenty of impressive range in just a two-minute span of a few short scenes. He’s blank and glazed over one moment, terrified the next, and glaring through evil eyes the next.
As a life-long fan of horror, I appreciate the calm approach to things in the trailer. A lot of modern horror seems it feels compelled to get loud and screechy quick and often, making it lose impact. However, The Prodigy takes its time here, allowing the ticking clock to sink deep into our bones which, for me, makes The Prodigy standout from an increasingly crowded market.
Did this trailer get you excited for The Prodigy? Leave your comments below!
“The Longbow Hunters” sets up a weak status quo for the season. The more ARROW commits to a season without the Green Arrow, the weaker it gets. This episode has some interesting storylines with its other team members, but they all revolve around Oliver. His prison sentence seems to be a death sentence for expectations.
This episode mostly centers on the conflict between Felicity and John. Now that Team Arrow has disbanded, the two are at odds with how to pursue Diaz. The reason this plot doesn’t work well for the episode is that their conflict is one-sided. Felicity has some great motivations, and it helps that we got to see her fight Diaz last week. But Diggle has gotten next to no screen time so far to ground him in the season’s story line. One awkward encounter with his superior doesn’t put him on an even playing field with Felicity. Their inter-personal conflict is too unbalanced to keep the episode interesting.
David Ramsey and Emily Bett Rickards, CW’s ARROW
They also aren’t in conflict with interesting enemies. For an episode called “The Longbow Hunters,” we get little action that centers on these villains. The fearsome trio appears to be little more than a Graves-twins-knockoff and a human silencer. It doesn’t help that they’ve partnered with the still vaguely powerful villain, Ricardo Diaz, who only appears for a second. While the silencer makes for some cool directorial choices, they make next to no impact in their titular debut.
Even the flash-forwards don’t offer much mystery. Part of this is due to how fresh they are, as we don’t know what leads William and Roy to this dark future. However, ARROW doesn’t give viewers much to work with. We learn that Felicity has died, and that everyone else is… not there? The future ARROW is pushing offers little incentive to try and crack what’s happened. It’s nice to see Roy Harper back, but if we don’t know what’s he’s doing back, then what’s the point?
The big problem with “The Longbow Hunters” – that may extend to the season – is Oliver’s status. Oliver’s prison plot line isn’t strong enough to center an episode on. That’s why the show probably focused more on Felicity and Diggle. However, Oliver is still the main character of this show, and he’s not acting like one. Oliver’s conflict with the other prisoners and the guard isn’t interesting, because we know little about them. Everything concerning Oliver so far hasn’t given ARROW much to work with.
There isn’t enough that “The Longbow Hunters” tees up for it to work as an episode. It doesn’t look like ARROW will have any Arrow in it for a while, so what’s the point? Felicity teaming up with the agent that put Oliver away seems like a story line doomed to repeat her conflict with Diggle. The most interesting side character squabble is between Rene and Dinah, and that plays no role in this episode. Even the mysterious new Green Arrow isn’t around. This episode sets a dangerous precedent for what could be a very boring, inconsequential season of ARROW.
The fantasy animated series Disenchantment, headlined by Abbi Jacobson and Eric André, has been renewed through 2021. While streaming service Netflix has been on a cancellation streak lately (see Luke Cage and Iron Fist), they announced today via the show’s Twitter account that there would be more episodes of Disenchantment over the next three years.
The misadventure continues. New Disenchantment coming in 2019, 2020, and 2021. pic.twitter.com/HWzXeYxRQ4
The series focuses on the adventures of Princess Bean (voiced by Jacobson), a rebellious buck-toothed drunkard fighting against responsibility and adult life. It was created by Matt Groening and Josh Weinstein, both of The Simpsons and Futurama fame. The first ten episodes, available now on Netflix, showed potential, and it comes as little surprise that more episodes called for, although with Netflix’s opacity regarding ratings, one never knows.
What do you think of the renewal? Where do you think the series will go over the next 30 episodes? Let us know in the comments.
What do you do when you have a dormant horror franchise?
It could be given a reboot, slowly go from horror to comedy, or be laid to rest.
David Gordon Green does something very different with Halloween. By taking on Michael Myers, the movie revives the series in a big way.
The new Halloween takes place exactly 40 years after the 1978 movie. It also removes all the sequels and the Rob Zombie reboot films. Gone are the Curse of Thorn, Jamie Lloyd, and the flashbacks of Michael’s youth. Nor is there any link between Myers or Laurie Strode. The film dismisses the idea of a family connection as an urban legend.
Having survived the first film, Michael Myers has been living in a mental hospital after his capture in 1978. Authorities finally heed the late Dr. Samuel Loomis’ advice and keep the prisoner under heavy guard. Aaron Korey and Dana Haines, two British podcasters, come to do a story on Michael before he gets sent to a maximum security prison. Still tall and imposing, Meyers remains mute and unemotional. As his new psychiatrist Dr. Surtain explains, Michael can speak but simply chooses not to. Aaron pushes his luck in pressing Michael about the 1978 killings, mentioning Laurie Strode, and showing him the old mask. While all the other inmates are visibly terrified, Michael is unflinching.
Meanwhile, Laurie (Jamie Lee Curtis) is not faring well either. A brief encounter with the podcasters shows she has been dealing with the past for years. Now in her fifties, she continues to train and arm herself for the event of another confrontation with Michael. In addition, she struggles with PTSD and alcohol, which ended two marriages and has driven her family away.
Laurie’s daughter Karen (Judy Greer) doesn’t have a good relationship with her mother, who she views as unstable. This stems from her being taken away by social services as an adolescent. She refuses to reunite with her mother unless the latter moves on and gets help. The only relative whom Laurie is close to is granddaughter Allyson (Andi Matichak), who is starting to become frustrated with her obsession.
During the prison transfer, the bus goes off the road, and Michael is able to make an escape. One harrowing sequence involves a pedestrian father and son arriving on the scene and facing a horrific fate. Not long afterwards, Michael encounters the podcasters at a gas station, kills them, and recovers his mask. He then makes his way to Haddonfield, Illinois.
Meanwhile, Allyson is out at the school dance with her boyfriend Cameron. The event ends in disappointment when she catches him kissing another girl and decides to head home. What Allyson doesn’t know is that Laurie and Karen are trying to contact her about Michael being on the loose. This is rather difficult, since Cameron destroyed her phone. While the body count rises, Laurie and Sheriff Frank Hawkins (Will Patton) double down on trying to catch Michael. As various plot threads combine, we learn that Dr. Surtain has designs of his own regarding Michael.
As a director, David Gordon Green succeeds in creating a genuine feeling of dread. What’s interesting is the question of what Michael personally gets out of killing. This is a hard question to answer, as Michael remains mute and doesn’t speak. Make no mistake, there are no references to Druid cults, Satanists or cursed tattoos. Instead, Dr. Surtain theorizes that the pursuit of Laurie is what gives Michael the strength to keep going. He considers the idea of the victimizer becoming the pursued one. There is also the possibility that Michael’s mask serves as a trigger of sorts, as shown in the opening scene.
Jamie Lee Curtis is in fine form as Laurie. She manages to depict a character who’s been victimized and is willing to fight back. Some of the film’s deeper moments involve Laurie breaking down at a family outing, which also reveals she has struggled with alcohol. Now wiser and experienced, she is in the Dr. Loomis role of warning others to beware Myers. Curtis gets to perform a lot of action scenes, especially handling firearms.
James Jude Courteney is imposing and scary as Michael Myers. Tall, muscular and stoic, he is physically intense as a killer who’s picking up where he left off. This is a much older, slower take on Michael, but he’s still intimidating as he was back in 1978. All the classic features are there- the boots, the slow breathing, the quizzical head tilt, etc. It is interesting to note we see a fair amount of Michael’s face in side profile and at angles. This film also marks the return of original Myers actor Nick Castle, who provides the famous heavy breathing and appears in one scene.
Haluk Bilginer’s Dr. Surtain is an interesting addition to the film. Having taken over from Loomis, he views Michael as both a patient and a scientific specimen. Laurie even lampshades his role in the story, calling him “the new Loomis” at one point. As the film progresses, however, Surtain shows that he only wants to keep Michael alive for research, and he’ll go to extremes to make sure of that. What’s frustrating about Surtain is that he doesn’t appear to comprehend the danger he’s putting himself and others in.
The supporting case does great with the material. Will Patton brings a level of toughness and experience to the role of Frank. His character is unique in averting the cliche of police being useless, because Frank believes what Michael is truly capable of and tries to stop him. Judy Greer makes Karen a likeable and sympathetic character who holds mixed feelings about her mother. She does hold her own, especially in the third act. Andi Matichak brings a mixture of believability and uncertainty as Allyson. While most of her scenes are teen-related, she shows a sense of resolve that gets stronger as the plot progresses.
Toby Huss provides a dry, sardonic sense of humour as Allyson’s laid-back father, Ray. Miles Robbins, son of Tim Robbins and Susan Sarandon, and Drew Scheid provide comic relief with their light-hearted banter and adolescent awkwardness. It’s especially saddening to see such funny characters meet a terrible fate, but this is typical of the horror genre.
Green’s direction is pretty good, and he does know how to stage action. However, more than a few comedy moments feel like scenes right out of a teen movie like Superbad. Such examples include Dave and Cameron’s hormonal confessions and foul-mouthed little Julian. These bits come up pretty frequently in the film, but they also run the risk of killing the suspense.
Halloween is also notable for the return of creator John Carpenter to the franchise. While he isn’t directing, he does serve as executive producer and provide the score, which adds to the suspense. Always a nice touch to see original crew members reuniting with the work that made them famous.
Overall, Halloween breathes new life into the series. Curtis, Greer, Matichak and Hawkins deliver strong performances. Green and his producing partners have made the Boogeyman scary again. Anything is possible at this point.
