OCTOBER 17, 2018

“You can’t control evil. You can lock it up, burn it, and bury it, and pray that it dies, but it never will.”

Tommy Doyle (Paul Rudd)

For being the sixth film in a series about a masked serial killer wreaking havoc on a small-town, almost no one in “Halloween: The Curse Of Michael Myers” knows the meaning of the phrase “stranger danger.” There are multiple instances where a stranger appears in someone’s house (not Michael Myers, mind you) and, instead of having any realistic or justified reaction, they brush it off. Living in a town that is known for annual visits from a serial killer, I can guarantee that its residents would be much more guarded.

It is almost as if writer Daniel Farrands has never actually interacted with human beings before. Why, when a character brings a baby to a hospital, does the receptionist have him escorted out by security? Why are multiple characters blindly following requests from people they do not know, especially when those people are known as creeps in their town? All of this boils down to bad writing.

Instead, the script focuses on explaining things that don’t need explanation, like the cause of Michael’s bloodlust. Convoluted storylines about cults, rituals, and genetically engineering an evil baby muddy the landscape of a series that began as a barebones slasher flick. The first “Halloween” needed zero context. No one needed to know Michael’s lineage. No one needed to root his desire to kill. All we needed was Michael Myers showing up and murdering people. For this sequel, you can still put a new family living in his childhood house, and you can even have grown up versions of the kids from the first film, but those few things are enough. Bury the overabundant machinations.

Marking Donald Pleasance’s last appearance in this series as Dr. Loomis, “Halloween: The Curse Of Michael Myers” also marks the worst entry of the series, save for the third film, “Halloween III: Season of the Witch,” which technically wasn’t really a “Halloween” movie as it lacked the title character. What the film does have is Paul Rudd in his second feature film role, following up his “Clueless” appearance from earlier that year. Unfortunately, Rudd’s natural charisma channels into a relatively undynamic character with nowhere for him to shine, often coming off unintentionally funny from the awkwardness of the dialogue.

A terrible script is like a weak heart inside a body. Every other organ could be working fine, but if the heart isn’t working correctly, the entire system will eventually suffer. Trying to push this series into new frontiers like the supernatural or continuing to develop relationships between characters throughout the series in the way of soap operas all comes off as bad writing. Add to that the disconnect the writer has from true human reactions, and you’ve got a disaster. Putting the town on edge and upping the ante on terror would have been a better way to pay tribute to the previous installments of the series. For better or worse, the casting ends up being the only real highlight of the film and, for that, this will always be known as the Paul Rudd “Halloween.”

September 29, 1995

Joe Chappelle

Daniel Farrands

Characters by John Carpenter & Debra Hill

Miramax Films
Dimension Films

(for strong horror violence and some sexuality)


87 minutes

Billy Dickson

Alan Howarth

Randolph K. Bricker

Donald Pleasence
Paul Rudd
Marianne Hagan
Mitch Ryan

Paul Freeman

$5 million

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