As anyone who has read my review of Rob Zombie’s Halloween, you might know that I was immediately open to it and generally liked it basically because it was different. It wasn’t a shot-for-shot remake, but it was also a bit messy. The first half was certainly very good; Zombie’s chronicling of Michael Myers’ life stuck in institution was well explored ground and written very well, but then the second half feels like a push-pull between something like Gus Van Sant’s shot-for-shot remake of Psycho to Zombie’s interpretation of the original material, which is where the first film fell a bit flat. However, with the “Unrated Director’s Cut” of Halloween II, Zombie goes in a different direction yet again, and it feels like Zombie’s finally made Halloween his own.
It’s been two years since the psychotic events of October 31st in Haddonfield, Illinois, and Laurie Strode is a mess. She’s living with Annie Brackett, who used to be her best friend, but animosity has grown since the Halloween incident. She’s having bizarre visions and a revelation in the new tell-all book by Samuel Loomis catapults her into events that will finally bring a close to the Michael Myers’ rampage.
From the get-go, this isn’t your typical horror film. It doesn’t even seem like a horror film. Sure, there are deaths, stabbings, and freaky visions, but it plays out more like a drama that used horror as its basis. It’s one of the smartest moves ever made in a horror sequel. Rob Zombie is the thinking horror fan’s director, he won’t do a retreading of material, he won’t rehash ideas, he’ll keep going in different directions, and I never cease being interested in what he has to say within his films.
Scout-Taylor Compton provides a fantastic performance as Laurie Strode and really makes Strode her own; the scenes involving Strode and Margot Kidder’s psychiatrist are of a particular note, showing Strode spiralling out of control and Kidder’s psychiatrist trying to work out how to help this poor girl.
Strode is having psychotic visions, and it is one of these visions that is probably my favourite parts of the film involving lots of profanity, almost silent movie-esque looks and a glass coffin which works very well, it’s a scene that has a great impact and is visually pleasing, despite the amount of profanity being thrown at the camera.
Of particular positive notes is the inclusion of home video footage of Danielle Harris as a young Annie Brackett. The Halloween fan will know Harris played Jamie Lloyd, the niece of Michael Myers and daughter of Laurie Strode in Halloween 4: The Return of Michael Myers and Halloween 5: The Revenge of Michael Myers, and there is a poignancy of showing this footage with Harris’ history in Haddonfield. It’s quite moving actually, which leads me to Brad Dourif.
In the first film, Brad Dourif played Annie’s father, Sheriff Brackett, and it wasn’t terribly memorable. It was cool as Dourif is the voice of another horror icon, Chucky the Good Guy Doll from the Child’s Play films, but other than that, there wasn’t anything stand-out about him in Zombie’s Halloween. He completely breaks out in Halloween II, showing a father falling to pieces, and bringing such a reality to his character and such sympathy, making Brackett my favourite character in Halloween II, and is probably the best performance Dourif has ever given on screen. It’s positively fantastic, and words can’t describe how amazing his performance is…you need to see it.
The Blu-Ray disc provides a great picture and sound, loud and threatening, just the way I like it. The image has changed from the cinemascope 2:35:1 of the first film to a normal widescreen image that helps bring across the raw energy the film oozes out of every grainy pore it owns. It’s a faithful representation and helps communicate the raw energy of the film well.
Deleted and alternate scenes are included which aren’t much to write home to mum about, they provide interesting but unnecessary alternative takes of different scenes. What would have been better is the inclusion of the theatrical cut. Audition footage is provided of some newcomers. While interesting to watch, is there a need for it? Do Rob Zombie/Halloween fans demand audition footage of as-yet-unknown actors? Of note is Chase Vanek, replacing Daeg Faerch as Young Michael Myers due to a growth spurt. Vanek provides a good substitute but didn’t seem as gloomy as Faerch was. Make-up test footage is also included, which, too, is interesting, but hardly necessary. A blooper reel is included which probably made me smile once or twice.
There is a fictitious band made for this film named Captain Clegg and the Night Creatures, and about nine minutes of music video is provided, intercutting black-and-white typical “music video shoot” footage with the scene in the film with sprinklings of old horror films and cartoons. They’re all the same and not my cup of tea.
Unce Seymour Coffin’s Stand Up Routines. This guy is also in the club scenes and isn’t funny, but does some jokes that may make you smile, but providing unused footage of unfunny stand-up routines for entertainment is redundant. I didn’t even make it past one minute of it. The whole joke in the film is that this guy is funny because he isn’t funny. Providing 5-10 minutes of unfunny material will keep hitting the nail on the head but eventually bore the hammer into the skull and then eventually into the brain matter, providing a painful experience. My thoughts go out to all who watch this in its entirety.
Finally is the audio commentary from Rob Zombie. Zombie is always great to listen to; he’s intelligible and explains certain ideas, cuts, and things become even more clear. He’s a great guy and while he does fall into the audio-commentary no-no of describing what is on-screen, he balances that out by explaining the ideas behind the scene or a story behind the scene, which is alright. He’s insightful company and worth checking out for Zombie fans.
The disc is highly recommended for Zombie fans and for fans of horror in general. This isn’t your typical horror film, not is it your typical Halloween film. But I liked that; it’s refreshing and visually outstanding and has some fantastic ideas. I challenge all who saw the theatrical cut and hated it to watch this fantastic, albeit somewhat slow director’s cut, and try not to change their minds.
The inclusion of the theatrical cut would have made for some nice analyses, and the inclusion of Captain Clegg music videos and Seymour Coffins’ stand up routines are unnecessary waste of precious data space. A faithful reproduction of the image and audio provides the film with a great visceral experience. I could have loved it more, but I loved it more than I expected to. Four skulls.