#halloween 4 the return of michael meyers

[scarycrowsblog]

[toastofthetrashfire]

No Entry: Voyeurism and Reality in the DFF Finale

Wow I’m getting to this so late cause life got in the way, but I’m back on the DFF meta train for a short bit more!

I wanted to look at the finale through the lens of voyeurism and gaze. I’ve written already about how DFF draws on found footage traditions here and about different levels of voyeurism the show employs during sex scenes here. I’ll definitely be drawing on both of these posts and picking up some threads, but hopefully it doesn't feel like a requirement to go read them. One thing I’ll be mentioning frequently here is levels of voyeurism, so I want to lay them out again:

The typical gaze of the camera. Here there's no obvious signals or framing of voyeurism apart from the natural voyeurism inherent in filming and watching any piece of visual media. 

We know a character is being watched but we don't see the watcher doing this. Perhaps a character expresses feeling watched or thinks they saw something. At this level we may stay in the perspective of the character being watched or an outside perspective where the watcher remains off screen.

The gaze is mediated in a way that evokes watching. For example, through a camera, a window, or the first-person viewpoint of the killer (common in horror). The voyeurism becomes more obvious and experiential. We're implicated more explicitly in the gaze but not necessarily in a way that forces the audience to reflect on this fact.

We see someone else gazing in a mediated way. Hannah Bonner puts it best in a chapter she wrote about Cabin in the Woods and other films with surveillance: "The voyeur is no longer just the audience, squirming in their seats from Michael Meyers's point of view as he tracks down his naked sister and her boyfriend in Halloween...now the audience as voyeur watches the voyeurs watch the surveyed" (90). This gets meta on the viewer. 

0. This is when we don’t even get to see what happened. There isn’t any gaze because what occurs happens off screen and is only mentioned or hinted at. This comes up for example when Non and Phi are implied to have had (but not shown to have had) sex. 

There are a number of ways that the finale of DFF plays with gaze and voyeurism that are really interesting to me, so let’s jump in! 

Jin’s Hallucination (aka Holy Level-5 Voyeurism Batman!)

It makes sense to start here, since Jin’s sequence centers around sex and voyeurism in pretty obvious ways. In my previous post, I noted that Non and Keng’s scene is one of the only moments where we move into level 4 voyeurism. We watch Jin filming Non and Keng and the show starts to ask us to reflect on surveillance and our perceptions of sexuality and SA. Jin’s other sex scene with Phi stays steadily at level 3 in the way it’s shot, though we get a lingering view of the dog/astronaut that almost seems to threaten level-4 voyeurism but doesn’t quite get there. The camera’s gaze turns on Jin in a way that reflects his guilt and foreshadows his hallucination in the finale.  

As we enter Jin’s sequence, the dial is immediately set at level 4. We watch Jin viewing himself being surveilled. In an interesting turn Jin is both a voyeur and the surveyed. It’s a moment that parallels the early scene in episode 1 where Tee stops the group from viewing him and White via the surveillance cameras. But, as I'll note further in, Jin can't make it stop. 

The show flashes between the scenes in the TVs, moving us down a level or two as we enter the scenes playing in the screens, and images of students with their phones recording, moving us back up to level 4 territory.   

Jin then enters the bathroom, seeing himself having oral sex. Sex Jin makes eye contact, putting us at level 3 voyeurism as we take on voyeur Jin’s perspective (what is often the gaze in horror of the killer, but here the thing chasing him is his own guilt and his own self whose gaze he returns). 

And then the show amps things up. So far we’ve oscillated between level 3 and 4, but then students file into the bathroom with their phones and we get an entirely new level of voyeurism: level 5! The audience (us) watches Jin watch people who are filming (using a mediated gaze) and watching hallucination Jin have sex. Jin’s double presence in the scene allows for a whole new level of voyeurism in the show.  

*side note: Copper watched this in a theater with fans. So we have Copper watching the theater audience watch him as Jin watching people using cameras to watch hallucination Jin have sex. 

We get flashes of the filmers (level 4), the sex (level 3), flashbacks of what Jin did (level 4), and Jin watching all this in horror (level 5). The changing levels keep the sequence frenetic and intense, both visually and thematically. And of course, the show smartly has held off on level 5 until the finale/climax of the show. From an overall structural perspective it’s a very smart way to build the show’s tension. Our first four episodes stay lower, spiking to level 3 but largely staying at lower levels. In the flashbacks our ceiling is raised to 4, but we also get a new floor with the 0 of Non and Phi, and the show moves around through levels 0-4. Then suddenly in the finale our ceiling is moved even higher again for the most intensity and impact possible.

It reminds me a lot of dynamics in music. The early verses are soft and grow to the first chorus, the next verse goes much quieter to contrast with a louder second chorus, a bridge comes in, and then the final two choruses hit big. You don’t want every moment to be at the max or you won’t have anywhere to build to. DFF holds off on level 5 so that it can go big in the finale in a similar way.  

I think this sequence is also interesting in how it frames Jin as both voyeur and surveyed in Hanna Bonner’s formulation. Jin takes the role that we the audience typically would in level-4 voyeurism. I wrote a bit in my previous post about how level 4 gets meta and asks us viewers to reflect. Here, Jin takes that role instead, and it forces him to face his guilt and fear in a self-reflexive way. 

This isn’t to say that this is a freeing process or one of heroic self-growth, but it is one of awareness filled with the pain of encountering guilt. As he stabs himself, Jin apologizes but also says “I’m guilty. I know it now.” This knowing suggests that this has come from Jin being painfully self-aware.  

Placing Jin in what would typically be the audience's role (voyeur) also allows him to act in a way that we cannot. We see him try to pull Keng off of him, try to stop the filmers, and then smashing the TVs. It embodies an impulse we may have had as viewers in other moments of the show, especially as we watch Non being hurt over and over--a desire to step in, to stop it all. But we can’t. No matter what level of voyeurism we’re offered, we can’t cross the fourth wall in that way, and so the show keeps going on; things spiral forward, a painful piling up of cause-and-effect, and we watch the dominoes falling. 

Jin is placed here in a unique position as both viewer and surveilled. He can, in theory, cross the fourth wall to intervene and stop this. But that just makes his lack of control all the more horrific. It mirrors the way the video of Non and Keng circulating took away Non's agency and control over how the world perceived him.

Jin can’t stop the sex, the people filming don’t even acknowledge him, and there’s no button or remote control that can turn off the TVs. The TVs Jin smashes only show what has already been filmed. Jin tries to smash the TVs and some turn to static, as if he can force his way out of seeing this, force the scene itself out of level-4 voyeurism, denying himself and us viewers the gaze.

But unlike the local storage of a phone, the TV screens aren’t the source of the recording data. It parallels the moment that Jin short circuits his computer, while the video he recorded uploads to the internet. The footage is already circulating; no short circuiting of computers, smashing of TVs, or guilt will stop the damage. 

The only way to stop it all is to go back in time, and stop the footage from being recorded to begin with. So Jin apologizes as he stabs his hand--a hand used to hold a phone or a camera, a hand that can record. 

Fluke's Hallucination: Voyeur/Bystander

If we’re talking about gazing and voyeurism, it also makes a lot of sense to think about Fluke, our bystander. Even till the end he equates inaction with a lack of culpability. As we enter his hallucination he says, “It wasn’t me. I didn’t do it.” But other voices show his fear: that the world will not believe him, that he will be blamed regardless of his own perceived lack of involvement. 

However, Non steps in to set Fluke straight. When Fluke tells Non he wasn’t responsible for the sex tape, that it was all Jin, Non replies: “But you didn’t stop him. It’s like killing me alive.” Here, DFF quite clearly criticizes bystanderism and the assumption that it equates to a lack of involvement, responsibility, or guilt. 

Non tells Fluke to film Non and Keng and forces Fluke to take the camera. Of course, in the real world, the camera he’s guiltily raising to his face is actually a pair of needles that will blind him. He refuses to act on the harm he sees, so the solution is to not have him be able to see at all. Then he can’t have the future he has tried so hard to protect at Non’s expense. 

Interestingly, hallucination Non forces Fluke to take up the camera and move into level-4 voyeurism. He’s forced to look at what he metaphorically turned a blind eye to. Perhaps because the consequences of him filming would be the same as when he let himself pretend his own gaze was value neutral. By forcing Fluke up to level 4, the audience is also drawn in again in a meta way to reflect on not just Fluke's role as a bystander but perhaps our own as well. In a show framed by voyeurism, a show that deconstructs easy binaries of guilty and innocent, what is our own culpability as an audience?

This moment also has a striking similarity to the film Shutter, which I mentioned in my found footage and tech post. I talked about how Shutter touches on themes of bystanderism and guilt, mostly linking this to Jin. But the parallel is made here as well with Fluke as he is positioned to do what Jin did and what Tun did in Shutter: film/photograph SA. Notice how Tun, despite taking the photo, turns his gaze away from what is happening as if he can remain uninvolved, much like Fluke does throughout DFF. Fluke struggles and looks away from the camera Non forces on him, but ultimately we know he can't keep turning his head away. He looks at the very moment he blinds himself.  

On a side note, part of the modern version of the Hippocratic oath states the following: "that warmth, sympathy, and understanding may outweigh the surgeon's knife or the chemist's drug." Fluke lacked this sympathy or understanding and in the end it was a doctor's tools that punished him, the needles used to stitch patients and the chemist's drug that New releases. Maybe I'll do a whole breakdown of the oath and Fluke, we'll see.

The Viewer and Reality

Earlier I asked the following: In a show framed by voyeurism, a show that deconstructs easy binaries of guilty and innocent, what is our own culpability as an audience? I want to unpack that a bit here by exploring how the show's finale situates us as an audience and plays with our perception and gaze.

I've mentioned how level-4 voyeurism takes things to a meta level, asking us viewers to reflect on our own judgements, perceptions, and assumptions. This is often centered around sexuality and morality via the sex tape and Jin's hallucination. However, this theme goes beyond sex, as we see the various ways almost every character operates with limited assumptions of who Non is. They all think they see him correctly, but this limited perspective is deconstructed, at least for the audience, as we increasingly see more of Non's life and the consequences of everything play out.

As I put it in my previous post: "The show clearly has a lot to say about what it means to surveil others and about the ways our perceptions can do others harm". There's a particular violence in watching and in placing narratives on people. I'd argue that even in the finale, DFF remains aware of and willing to critique (or at least play with) the narratives and assumptions we as an audience try to place on the show more broadly.

The Final Shot

I've already talked a lot about how the final episode plays with levels of voyeurism, even giving us a level 5. What I find particularly fascinating is how these levels are paired with some of the shows most graphic violence. We see so much of these character's physical and psychological pain in the finale.

But when all is said and done, what we close on is a level 0.

This move is actually pretty similar to The Blair Witch Project, which I wrote about in my found footage post. One thing horror scholar Heller-Nicholas notes is how the camera in found footage films is in tension with the audience's desire to look at what we want to see. There's a frequent and deliberate denial of full visual access that often adds to the horror. DFF isn't found footage, but it does make similar moves through framing choices that gesture towards the camera's limited and narrowed scope.

Such shots box the characters in and imitate camera framing and a mediated gaze.

The ending shot of the show doesn't implement such obvious squared framing, but it relies on us being visually cut off nonetheless. We're pulled out, past the gate, so only a small bit of the house remains visible. What we want to see as an audience is inside, in tension with what the camera can and will show us.

While not identical in aesthetics, the principle remains the same as found footage. At the end of TBWP, the camera drops, we're left looking at a blurry image of the floor, while the fate of the characters remains entirely unknown. Our visual gaze and our narrative insight are denied. All that remains is the sound of the camera rolling, just as all we hear is the sound of a lighter as we end DFF.

In the end, when the credits roll on DFF, we don't know if anyone left the house or even what was a hallucination or reality. What we just watched voyeuristically is all called into question, and we are shut out. Whatever did or will happen in the house, we won't be the one's to see it; our gaze is denied as are our attempts to place any sort of definitive interpretation on the narrative.

Throughout the story we have moments where the line between private and public is horrifically crossed often through the use of cameras, but in this final moment the private is reinforced again. The line is redrawn, emphasized with the "No Entry" sign outside the gate which marks the house as a private space that we no longer have the privilege of entering. The door is both literally and metaphorically closed.

*Side note: I think there's a whole other post worth of discussion here on the harm caused when our priorities of what should be private vs public get warped and collectivity fails. But in a sense, perhaps the audience too is caught up in this failure, as bystanders who failed to intervene, and we are left only with the horror of unknown fates hidden behind a marker of private property.

Our Myths and Reality

This closure is also really interesting in a show that centers a struggle over authorship and directorial control. The tension between Por and Non plays out class and power dynamics and raises questions about who gets to tell what stories and what/who gets made invisible. So what can we make of an ending that renders everything and everyone invisible? When there's no director left to present their visual or narrative interpretation of reality?

We're left instead completely unmoored from any sense of what the show's reality is or was. And I think this is an interesting play on and subversion of the type of reality fiction offers us.

Once again, in her work on found footage Heller-Nicholas notes how the genre has come to rely not on "...our gullibility, but rather our willingness to succumb to the myth of the real that these films offer..." (26). I mention in my found footage post how DFF gives us many examples of characters and society falling into their own myths of reality and placing these on others (such as Non) to harmful results. And it's quite telling that the true found footage film (the sex tape) is taken as more of a window into reality than the found footage horror film the boys produce. People on social media interpret the tape of Non as a reflection of reality, but what they express are the myths and narratives they hold about sex and morality, rather than an objective truth.

As an audience viewing a narrative, we also bring our myths, biases, and narrative desires to DFF itself. And in the end the show makes an interesting move in how it chooses to end the show while subverting these impulses.

First it offers us a possible ending. One where things return to "normal," where the heroic romantic couple are together in proper BL fashion, where they survive but live with the trauma. Phi even becomes a director, making sure that role isn't left empty. Tee's ending is very similar to Tun's in Shutter, where a mental breakdown is seen as apt punishment for guilt. The idea of the final girl carrying on the trauma of the slasher is a trope in itself. These all perhaps play on assumptions we have of how such narratives should go, our very own myths of reality as it should play out in fiction.

Then DFF pulls the rug on this myth and any sense of verisimilitude. We have no sense of what the show's "reality" is by the end, and no comfy myth of the real for us to return to. We're left asking "what really happened?" while the show says "what is real?" Because the camera is far from a reliable, objective tool to see the world.

While I think there were some issues with pacing in the finale, I still think this is a really cool move. It fits so well in a show about the harms of the fictions we place on reality and real people. And to turn that critique up to a meta level that messes with the audience? I love it!

I also think it's especially powerful and tragic that, in the end, it is only in a space where there is no "reality" or solid narrative of what happened that Non can be present. He was harmed so much by the weight of others' narratives, rendered invisible. But his presence is unrelenting in the finale, driving the hallucinations and breaking through the more clean cut ending mythic ending. It's in this liminal space, where the real falls apart that he can haunt and be visible.

And perhaps in a story where Non's privacy was violated, where he was subject to the perceptions of others in cruel ways, the best kindness the show can offer its characters is a final, horrific moment of privacy, where not even the audience can perceive them.

Sources:

Heller-Nicholas, Alexandra. Found Footage Horror Films: Fear and the Appearance of Reality. McFarland & Company, 2014.

Bonner, Hannah. “#Selfveillance: Horror’s Slut Shaming through Social Media, Sur- and Selfveillance.” Gender and Contemporary Horror in Film, edited by Samantha Holland et al., Emerald Publishing, 2019, pp. 85–99.

Shutter (film, 2004)

The Blair Witch Project (film, 1999)

[wonderfulworldofmichaelford]

One of the reasons I think slashers are the worst subgenre of horror films is that when they become franchises, they either stick to formula to a fault or else try something new, get blasted by fans, and then revert back to formula.

Look at Halloween; 3 tried to turn it into a horror anthology series, got trashed, and then we got several decades of increasingly convoluted nonsense all so Michael Meyers could keep killing. The Nightmare series had this to a lesser extent; 2 was a bit of a radical (and homoerotic) departure from the first film, fans didn’t like it, so three went back and refined the formula of the first into the best version of itself… and then just slowly slid into the same formulaic stuff, just with goofier kills.

Even a series that somehow managed to subvert this ends up falling prey to the desire for formulaic slop. Friday the 13th ran its course after 4, so they tried to make it a “legacy killer” sequel in 5 which went over poorly. And while 6 did go back to formula, it did so while making Jason a revenant and turned the film into a self-aware black comedy. But the success of this reinvention (among other issues) led to the opposite problem, where they kept trying to innovate to diminishing returns. 7 is good if messy and 10 is a tongue-in-cheek parody, but 8 and 9 are widely seen as the low points of the franchise.

I think the only franchise that gets away with this to some extent is Scream, and that’s mainly because they’re meta commentaries on the genre, and even then it’s at the point where I really wish they’d try something different. There’s a reason the genre is dead outside of fringe cases with weird gimmicks, they’re all essentially the same film just with a different goober killing teenagers.

[tazzmanian-devil]

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[kittywriites]

so i just gotta bitch about the continuity, or lack thereof, in the fucking Halloween movies and also a little bit about my rude friend lmao

Like, Season of the Witch completely ASIDE because I actually really enjoyed that one lmao, but the fact that in 1 + 2 Michael and Laurie literally have no real connection, he just saw her bringing the key to his old house because her dad’s a realtor and he’s selling it. 

And then I loaded up Halloween 4: The Curse of Michael Meyers and in the summary it’s like “he returns to kill his niece!” and like “????????? where the fuck did he get a niece???? did he NOT just kill his only sister?? Halloween movies really said fuck continuity, lets just make a bunch of money of this linebacker with a butcher knife”

And my friend (rather condescendingly i might add!!!!) was like ‘you DO realize Laurie is Michael’s sister, right?”

Like....no. That’s my mfin point. They literally alter their own canon because in the original she is NOT his sister, and I know because I watched it less than 24 hours ago, Amanda!!!! 

So I said “Not in the original” and then regaled the EXACT, CANONICALLY ACCURATE ‘CONNECTION’ THAT MICHAEL AND LAURIE HAVE IN THE ORIGINAL HALLOWEEN

and she goes

“well yeah but it’s common knowledge among real fans that she’s his sister ”

lmfaoooooooooooooooooooooooooooooooooooooooooooooooo

first of all babe, I never claimed to be a “real fan” and quite frankly I’m less of a fan with each movie I watch lmfao. second of all THEY THREW IN the sister bit in a later movie. it’d be like if in Harry Potter and the Goblet of Fire, they were like “you know what? voldemort’s actually harry’s dad. we don’t know how or why or where james potter went but yeah, voldemort’s harry’s dad now and that’s just it, lets roll!” 

it’s shitty writing. thats just what it is lmao. it now makes total sense to me that the director and writers of the latest trilogy were like “alright, fuck everything that came out after ‘78″ because what a nightmare to try and string together such a garbled mess of 40 year old fuckery and money grabbing

i mean imma still watch em all and we all know that the love of my life Corey Cunningham wouldn’t be here without them but like....idk idk idk, the Halloween movies just weren’t made for me ig

[baronvonkrieger]

Halloween 3: An attempt to Put Halloween back in Halloween.

One film that gets a lot of hate, is a 1980s film directed by John Carpenter, that mixed Horror and Science fiction. You would think for this film to be so hated, it must be as bad as “Manos Hands of Fate” or “Exorcist 2″. Well it isn’t that bad, in fact it is a decent film effort that stands pretty well with other John Carpenter films. So why is this particular film still reviled by some? The answer here is Michael Meyers.

In 1978, a film was released about a mental patient who escaped from the facility he was being transported to, and began wreaking havoc on the small community in Ohio he once lived. The Film was all about Halloween. Children Trick or treating, Horror movie marathons, and young people getting into mischief. The guy stealing a Captain Kirk mask, and wreaking havoc, is what moves the story along. The film was a smash hit, and Michael Meyers became an iconic movie Boogey man. He developed a big  fan base. Plans to make a series of film with different Halloween stories, would be put on hold, as they decided to make a sequel which followed the events of the first movie.

What wasn’t known at the time was bringing Michael Meyers back in the second movie, made the series the Michael Meyers show. Unlike the first film, “Halloween 2″ (1981) really had little to do with Halloween. it became a film about a psycho with family issues, who was now on a mission to kill female family members, because unbeknownst to the viewers of the first movie, Laurie Strode was -bom bom bom- his his sister! This was perhaps the most startling cinematic reveal since Frau Blucher was Baron Frankenstein’s girl friend! Apparently he limits his killing of female family members to those who are under 21, because at no time is his mother at risk. If you re-watch the first film, now you have to ask why didn’t he go straight to kill his sister right away, instead of going after these other teenagers first? That’s always the problem when after the fact you decide to make characters family after the fact. In “Return of the Jedi” Darth Vader is able to learn of Princess Leia being his sister, through Luke. How come he couldn’t figure it out when he was looking right at her in “New Hope”. Why would he have ordered her immediate execution, when he could have used that against Alderaan, and maybe worked on reestablishing their familial relation ship? 

It also means that “Halloween 2″ isn’t about Halloween, but about Michael Meyers wanting to kill his sister, while killing others along the way for the LOLs. To put an end to this character, Dr. Loomis sacrifices his life by setting off an explosion which causes Michael Meyers to become like Michael Jackson. Except instead of just his head, his entire body is covered with flame. As he is engulfed in flame, the song “Sandman” is played over the closing credits. This meant those who enjoyed Michael slaughtering ruthlessly anybody who crossed his path, the sads. If Michael was really dead, how could they enjoy their favorite mass murderer killing people?

These fears were realized with the next film, “Halloween 3, Season of the Witch”(1982). This was an attempt to put Halloween back in the Halloween series. A druid is sick of the non druids appropriating a holy day of his faith, and decides to wreak vengeance on the non druids mock Samhain, by steeling a piece of Stonehenge, and sabotaging masks, to kill children wearing them at an appointed time killing Children using computer technology. Hated by some, this film has increased in popularity over the years, developing a bit of a cult following. Even fans of Michael Meyers, admit the film isn’t to bad, it just shouldn’t have been a Halloween film. However, there is a lot more about Halloween in the third installment, then you’ll find in the second installment.

“Halloween 4, The Return of Michael Meyers”, brought back Michael Meyers, and ended John Carpenters hopes for a Halloween anthology series. This also would mean that you can’t make a film called Halloween, without it being about Michael Meyers, and I honestly don’t know what else you can do with a silent killer who wears a mask. Team him up with another boogeyman, like Universal did with their monsters in the 1940s, when they began their monster team ups? Get Adam Sandler and the gang to make a comedy where they mug around as Michael Meyers plays it straight? A big complaint I keep hearing about “Halloween Ends” is how little they have of Michael Meyers, or that the killings aren’t cool enough. One thing both “Halloween” and “Halloween Ends” are are bookends to the Laurie Strode story. She is the survivor who ends the monster that brought her and her family so much grief. 

I always loved “Halloween 3, Season of the Witch” , from when I first saw it in a theater wearing a Don Post Skull mask on opening day in Hollywood. Don Post was a company that made the masks used in the films, and the Don Post mask I own, is a more personal symbol of Halloween then Michael Meyers in his Star Trek mask. Like that Mask, “Season of the Witch” is a better representation of Halloween then all those Halloween films, which are really only about Michael Meyers.  And as I write this, there are now 14 days till Halloween....Cue “London bridge” song”.......14 days till Halloween, Silver Shamrock!

[brand-upon-the-brain]

Halloween 4: The Return of Michael Meyers (Dwight H. Little, 1988)

[awesomefridayca]

Home Video: Every 'Halloween' Film and Where to Buy, Rent, or Stream them

Home Video: Every '#Halloween' Film and Where to Buy, Rent, or Stream them #HalloweenKills

This week sees the release of the latest film in the Halloween series, Halloween Kills, which is a direct sequel to the 2018 film Halloween. While it’s true that these movies ignore the entire franchise except for the first two movies, there’s still a lot of fun to be had in the rest of those sequels. Sure, some of them are bad, but many of those are delightfully bad. Either way, if you want to…

[phoenix]

October begins at Trisk, the only way it can, with Halloween 4: The Return of Michael Meyers!

So join me by clicking the link and reading all my words about it!

[nealersegs918]

My raninking of the Halloween films(not including 2021’ Halloween kills. I haven’t got to see that yet)

11. Halloween: Resurrection- I just did not like this movie. I didn’t like the characters. I didn’t like the story. I didn’t like the effects. It was just all bad. I cannot think of one nice thing to say about it.

10. Halloween Part 6: the curse of Michael Meyers- I love Paul Rudd, but the story really held this movie back. The whole cult thing really ruined Michaels character and the whole incest situation was just a no.

9. Halloween 2(2009)- this movie is was just weird. The whole creepy ghost mom and kid Michael thing. And it was just too violent. Rob Zombie is a great director but this one just missed the mark.

8. Halloween 3: Seasoj of the witch- this one was ok. But of course there is no Michael, but as a stand alone film it does alright. The concept is a little silly but there’s nothing really terrible about it.

7. Halloween 5: the revenge of Michael Meyers- this one was alright, but it was a little too “comedic” for me. Some of the lines are just too funny and the whole bumbling cops thing. Other than that, it was a decent story not including the ending.

6. Halloween(2007)- this remake was okay, but kid Michael really annoyed me and he just ruins the film. I also don’t like how they tried to “excuse” why Michael became what he was.

5. Halloween 2(1981)- this is a good continuation to the initial film. The effects are nicely done and the setting is super creepy and it just works. I was on the edge of my seat.

4. Halloween part 4: the return of Michael Meyers- I rather enjoyed this film. Danielle Harris does such a good job as Jamie and it really showed what direction the movie could’ve taken.

3. Halloween(2018)- I really liked this film as a sequel to the original. It retconed all the following films and took us back to it just being a crazy killer stalking a babysitter. Jamie lee Curtis is great as Laurie strode. Judy Greer is great as her daughter. I really enjoyed this film and cannot wait to see the direction it takes the series.

2. Halloween: H20- okay hear me out…lol. I actually really liked this one. I enjoyed the private school setting, the characters. The buildup. I watched this film on a rainy night and it just set the whole mood. Again I love Jamie lee Curtis and josh hartnet. I feel like this is the ending the series should’ve had

1. Halloween(1978)- the original is still the best for me. It’s tense. The musical score. The effects. The setting? The characters? It’s just great. And to think of how great it is on how little it cost is amazing to me. John carpenter truly is a master director

[wonderfulworldofmichaelford]

Halloween 2018 review

The Halloween series has never really had a good break. In the forty years between the original’s release and the release of the newest film in the franchise, there has been a grand total of one good sequel… the third film, which has nothing to do with the rest of the series. The other sequels and reboots are a confusing latticework of alternate timelines and confusing plots that do little except turn Michael Meyers from a monstrous, eerie force into a bland, stereotypical vengeful slasher who just can’t be stopped. The only thing separating him from Jason Voorhees is that what little we understood about him was incredibly stupid and he never went to space.

And then along comes this film.

This film feels like a deconstruction of the failures of the franchise as a whole. The biggest problem with the movies – the Thorn timeline, the H20 timeline, and the Zombie reboots – is that they ultimately defanged Michael entirely by offering some sort of explanation for his motives, be it that he was Laurie’s brother, born with an evil curse that causes him to murder, or that he was just a white trash redneck hillbilly piece of shit in a Rob Zombie movie. Michael Meyers in the first film was ultimately as chilling as he was because his motives were entirely unknowable. We never find out why he killed his sister, or why he escaped and began killing Laurie’s friends; it was just something that happened, with no real rhyme or reason. That is ultimately what made Michael so terrifying, and what none of the later directors seemed to understand. They kept trying to rationalize Michael’s killing in a human narrative. Likewise, in this film, everyone save Laurie is trying to rationalize why Michael is the way he is. They offer all sorts of theories, all sorts of rationales, all sorts of attempts at humanizing Michael Meyers… but ultimately, the only person who truly understood Michael was Dr. Loomis. Loomis believed Michael Meyers to be nothing but pure, unadulterated evil. This, right there, is the truth of the matter, and why Michael Meyers is such an utterly terrifying villain: there is no reason to his actions, and if there is it is utterly alien and unknowable to us. He does what he does because he is simply a monstrous being, a truly irredeemable evil whose perpetual silence speaks volumes. The true failure, in universe and out, is that trying to rationalize Michael’s actions is a doomed endeavor, and these attempts at rationalizing him drive the plot, and ultimately drive Michael to a perfect place for him to begin a new killing spree. The failures of others at trying to comprehend him is what led him back to the utterly horrifying simplicity that drives him. It’s so brilliantly meta, moreso than every single one of the Scream films.

The plot is artful in its simplicity – 40 years to the day that Michael Meyers went on his original rampage, he is once again freed upon Haddonfield. This time though, Lauire is prepared, having spent the past four decades in paranoid doomsday-prepper mode… though this has alienated her daughter from her. Can Laurie survive the night and perhaps bury her demons once and for all, literally and figuratively? Or is Michael finally going to get the biggest treat of all this Halloween – Laurie’s head pierced with his knife?

This film’s greatest asset is, of course, Michael Meyers, finally returning to form. As mentioned above, gone is the convoluted backstories of the Thorn Trilogy and the Zombie films, and even the immediate sequel of the first film – back is the simple, terrifying idea that there are just people of pure evil in this world who do what they do for undefined reasons. Nick Castle returns to the role that made him famous, and returns with great gusto; his Michael may not be the mountain of a man the Zombie films made Michael into, but he is still a chilling force of savagery. And while the overtly supernatural elements of Michael’s character have been done away with, as in the first film there is some ambiguity, some doubt as to whether Michael is entirely human or perhaps something far more sinister… an ambiguity that is best kept when considering how the sequels ended up. Michael Meyers manages to take back the “scariest scene in which a killer walks at a brisk pace” from It Follows in an incredible oner scene in which, on Halloween, Michael goes from one house to the next and trick-or-treats in the way only he knows how.

But Michael would not be quite as effective if he wasn’t up against someone who could handle him. I don’t think I really need to tell you Jamie Lee Curtis does a fantastic job reprising the role that made her famous; here, Laurie has become the horror version of Sarah Connor, with all the emotional baggage, badassery, and familial alienation such a title implies. Somehow she manages to outdo Sidney Prescott in Scream 4 in terms of sheer badassery, and in some of the best subversions and homages in the film, Laurie manages to pull some of Michael’s classic moves against him. These two aside, the supporting cast is actually pretty enjoyable, with everyone getting just enough development you’ll care about what happens to them. Standouts include the charming little boy Julian who is babysat in the film, the badass and surprisingly useful Sherrif Hawkins, and a little boy who expresses a love for dancing and is the one who along with his father discovers the bus of escaped mental patients that signal’s Michael’s freedom.

Of course, none of that would matter if not for the score. John Carpenter did to the score what Michael does to teenage babysitters: he fucking killed it. All of the music is perfect, atmospheric, and amazing, and of course we get plenty of redone versions of the classic theme, as well the classic musical cues. I don’t think there could be a better horror film score than this, it is simply incredible.

If I can level any criticism at this movie, it’s that, despite a few twists and turns here and there, what you expect is pretty much what you get. This is a back-to-basics slasher film, one that doesn’t codify the genre the way the original film did but rather reaffirms what we love about it. For the most part at least it avoids a lot of the bad cliches of the genre, but there’s no denying that this is what you’d expect plot-wise. This is no bad thing, though, as even if it isn’t reinventing the wheel it is clearly a huge love letter to the entire franchise – there are references and homages to pretty much every entry in the series,  including a reappearance by the Silver Shamrock masks of the third film. It acts as a wonderful extension of the first film, and is finally a worthy sequel to one of the greatest slasher films of all time, and a worthy outing for the grandaddy of the slasher genre as we know it. Forty years of screaming teens being slaughtered by implacable monsters were spawned in the wake of Michael Meyer’s Halloween rampage back in 1978, and finally he has returned to remind us after all these years just why he was as influential as he was.

Now let’s get a sequel to Season of the Witch.

[hypergremlinisation]

201-300

201. Saving Private Ryan (Steven Spielberg, USA, 1998) - 9.25 202. Superstar: The Karen Carpenter Story (Todd Haynes, USA, 1987) - 7.75 203. Harlan County, USA (Barbara Kopple, USA, 1976) - 9.5 204. The Act Of Seeing With One’s Own Eyes (Stan Brakhage, USA, 1971) - 7.0 205. El Topo (Alejandro Jodorowsky, Mexico, 1970) - 9.25 206. The Princess Bride (Rob Reiner, USA, 1987) - 7.75 207. Blockers (Kay Cannon, USA, 2018) - 7.5 208. Aguirre, The Wrath Of God (Werner Herzog, West Germany, 1972) - 9.5 209. Bringing Up Baby (Howard Hawks, USA, 1938) - 7.75 210. Borat (Larry Charles, UK/USA, 2006) - 9.0

211. Brüno (Larry Charles, UK/USA, 2009) - 7.5 212. Jackass Presents: Bad Grandpa (Jeff Tremaine, USA, 2013) - 7.5 213. Akira (Katsuhiro Otomo, Japan, 1988) - 10 214. Winter Light (Ingmar Bergman, Sweden, 1963) - 8.25 215. Pink Flamingos (John Waters, USA, 1972) - 8.25 216. Twin Peaks: Fire Walk With Me (David Lynch, France/USA, 1992) - 9.25 217. The Simpsons Movie (David Silverman, USA, 2007) - 6.75 218. Jackass: The Movie (Jeff Tremaine, USA, 2002) - 8.0 219. Jackass Number Two (Jeff Tremaine, USA, 2006) - 9.0 220. Jackass 3D (Jeff Tremaine, USA, 2010) - 7.5 221. Game Over, Man! (Kyle Newacheck, USA, 2018) - 3.0 222. To All The Boys I’ve Loved Before (Susan Johnson, USA, 2018) - 8.75 223. Upgrade (Leigh Whannell, Australia/USA, 2018) - 7.5 224. Blade Runner 2049 (Denis Villeneuve, USA, 2017) - 8.75 225. Blow-Up (Michelangelo Antonioini, UK/USA/Italy, 1966) - 8.0  226. Paranormal Activity (Oren Peli, USA, 2007) - 6.5 227. Devil’s Pass (Renny Harlin, UK/Russia, 2013) - 5.0 228. Unfriended (Levan Gabriadze, USA, 2014) - 7.0 229. Ebola Syndrome (Herman Yau, Hong Kong, 1996) - 8.25 230. House On Haunted Hill (William Castle, USA, 1959) - 9.25 231. Troll 2 (Claudio Fragasso, USA/Italy, 1990) - 8.5 232. City Of The Living Dead (Lucio Fulci, Italy, 1980) - 7.75 233. Hereditary (Ari Aster, USA, 2018) - 8.5 234. Hausu (Nobuhiko Obayashi, Japan, 1977) - 9.5 235. Last House On Dead End Street (Roger Watkins, USA, 1977) - 7.0 236. Sleepaway Camp (Robert Hiltzik, USA, 1983) - 8.5 237. Mulholland Drive (David Lynch, USA/France, 2001) - 10 238. Picnic At Hanging Rock (Peter Weir, Australia, 1975) - 6.25 239. Toad Road (Jason Banker, USA, 2012) - 8.5 240. Let’s Scare Jessica To Death (John D. Hancock, USA, 1971) - 9.25

241. Carrie (Brian De Palma, USA, 1976) - 7.5 242. Blue Ruin (Jeremy Saulnier, USA, 2013) - 8.75 243. The Vanishing (George Sluizer, Netherlands/France, 1988) - 8.5 244. Caché (Michael Haneke, France/Austria/Germany/Italy, 2005) - 9.0 245. Bloody Birthday (Ed Hunt, USA, 1981) - 8.25 246. Polteregeist III (Gary Sherman, USA, 1988) - 6.5 247. Child’s Play 2 (John Lafia, USA, 1990) - 7.75 248. Phantasm 2 (Don Coscarelli, USA, 1988) - 7.5 249. The Cabinet Of Dr. Caligari (Robert Wiene, Germany, 1920) - 7.25 250. The Fly II (Chris Walas, USA, 1989) - 7.75

251. Halloween 4: The Return Of Michael Myers (Dwight H. Little, USA, 1988) -5.75 252. Train To Busan (Yeon Sang-Ho, South Korea, 2016) - 8.25 253. Who Can Kill A Child? (Narciso Ibáñez Serrador, Spain, 1976) - 8.25 254. Possession (Andrzej Żuławski, France/West Germany, 1981) - 10 255. The Haunting (Robert Wise, UK, 1963) - 8.0 256. Martyrs (Pascal Laugier, France, 2008) - 8.75 257. Eyes Without A Face (Georges Franju, France/Italy, 1960) - 9.25 258. Body Melt (Philip Brophy, Australia, 1993) - 6.25 259. Halloween (John Carpenter, USA, 1978) - 8.75 260. Halloween II (Rick Rosenthal, USA, 1981) - 7.0

261. Searching (Aneesh Chaganty, USA, 2018) - 9.0 262. Sorry To Bother You (Boots Riley, USA, 2018) - 8.75 263. Echo Park (Amanda Marsalis, USA, 2014) - 5.0 264. BlacKkKlansman (Spike Lee, USA, 2018) - 9.25 265. The Black Power Mixtape 1967-1975 (Goran Olsson, Sweden, 2011) - 8.0 266. Do The Right Thing (Spike Lee, USA, 1989) - 9.0 267. Malcolm X (Spike Lee, USA, 1992) - 8.0 268. In Echo Park (Nathaniel Lezra, USA, 2018) - 3.0 269. The Hate U Give (George Tillman Jr, USA, 2018) - 9.0 270. Never Been Kissed (Raja Gosnell, USA, 1999) - 6.5

271. Eighth Grade (Bo Burnham, USA, 2018)- 8.0 272. Manila In The Claws Of Light (Lino Brocka, Philippines, 1975) - 8.5 273. Dawn Of The Dead (George A. Romero, USA, 1978) - 9.25 274. Dawn Of The Dead (Zack Snyder, USA, 2004) - 7.25 275. Psycho (Alfred Hitchcock, USA, 1960) - 8.75 276. 78/52 (Alexandre O. Philippe, USA, 2017) - 7.5 277. Insiang (Lino Brocka, Philippines, 1976) - 9.25 278. The Power Of Nightmares (Adam Curtis, UK, 2004) - 8.25 279. Bitter Lake (Adam Curtis, UK, 2015) - 8.25 280. HyperNormalisation (Adam Curtis, UK, 2016) - 8.75 281. Nirvana: Live At The Paramount (Mark Racco, USA, 2011) - 8.75 282. Black Christmas (Bob Clark, Canada, 1974) - 8.0 283. Silent Night, Deadly Night (Charles E. Sellier, Jr, USA, 1984) - 7.75 284. Norte, The End Of History (Lav Diaz, Philippines, 2013) - 9.25 285. The Nun (Corin Hardy, USA, 2018) - 3.5 286. Live At Reading (Nirvana, USA, 2009) - 8.0 287. Bodied (Joseph Kahn, USA, 2017) - 7.25 288. Tangerine (Sean Baker, USA, 2015) - 9.5 289. The War Game (Peter Watkins, UK, 1965) - 8.5 290. The Song Remains The Same (Peter Clifton/John Massot, UK/USA, 1976) - 7.5 291. Nirvana: Unplugged In New York (Beth McCarthy-Miller, USA, 1994) - 9.75 292. Active Measures (Jack Bryan, USA, 2018) - 8/0 293. Inequality For All (Jacob Kornbluth, USA, 2013) - 7.0 294. Faster, Pussycat! Kill! Kill! (Russ Meyer, USA. 1965) - 9.25 295. Motorpsycho (Russ Meyer, USA, 1965) - 8.25 296. Drug$ (Jonathan Marshall Thompson, USA/India/UK, 2018) - 7.5 297. Roma (Alfonso Cuarón, Mexico/USA, 2018) - 9.5 298. Celebration Day (Dick Carruthers, UK, 2012) - 7.5 299. Fahrenheit 11/9 (Michael Moore, USA, 2018) - 7.75 300. Die Hard (John McTiernan, USA, 1988) - 8.75

[emmagroslot]

Extra

Halloween 4: The Return of Michael Myers

Halloween 4: The Return of Michael Myers is de 4e film van de Halloween serie. De film begint met Michael die in een soort ziekenhuis ligt.  Ze vervoeren hem met een ambulance. Tijdens de rit ontwaakt hij plots uit zijn coma wanneer hij ontdekt dat zijn zus die omkwam in een auto ongeluk, Laurie Strode, een dochter heeft, Jamie Lloyd. Hij valt de mensen aan die samen met hem in de ambulance zitten aan, en ontsnapt. Hij begint aan zijn reis naar Haddonfield om zijn nichtje te vinden. Wanneer Dr. Samuel Loomis hoort dat Michael is ontsnapt gaat hij meteen op zoek naar hem. Hij volgt hem naar een tankstation waar Michael vervolgens een werkman daar heeft vermoord en de truck van Loomis laat ontploffen en de telefoonkabels afknipt. Daardoor kan hij niet melden dat hij Meyers heeft gevonden. Meyers begint terug aan zijn reis. Het is Halloweennacht en Jamie en haar pleegzus gaan samen een kostuum kopen. Jamie past het kostuum in een paskamer en daar ziet ze Meyers voor het eerst. Daarna gaan ze ‘trick or treaten’, daar gebeurd hun volgende confrontatie met Meyers. Loomis komt ook aan in Haddonfield en waarschuwd de sherrif. Iedereen moet binnenblijven. Jamie en Rachel zitten binnen samen met de sheriff en andere politieagenten. Maar wat ze niet weten is dat Michael in het huis zit. De meisjes vluchten en Meyers achtervolgd hun. Vele dingen gebeuren nog, maar als je dat wilt weten moet je de film zelf zien.

Ik vond het wel een leuke film, maar niet zo eng. Ik ben de horrorfilms van tegenwoordig gewoon en die zijn een stukje enger. Ik vond het wel eens leuk om zo een oude film te zien en te zien wat de mensen vroeger eng vonden. Ik vond het soms wel grappig, want sommige dingen waar echt overdreven.

trailer van de film

[mattearq]

Halloween (2018) Movie Review

Finally had a chance to see the highly anticipated Blumhouse produced Halloween. The new film written by Danny McBride, Jeff Fradley, and David Gordon Green see’s the return of Jamie Lee Curtis in the titular role of Laurie Strode and also features the original film’s director John Carpenter returning to do the score for this new film as well.

Blumhouse’s Halloween is a straight continuation from the 1978 original and it ignores all of the other sequels in the Halloween franchise. To some of the older fans of the series this may be very confusing but in a way this helps simplifies the plot of the film and makes it a much easier film to newcomers of the series to get familiar with. The movie takes place 40 years after Laurie Strode (Jamie Lee Curtis) was the sole survivor of Michael Meyer’s wrath on Halloween night. The new film now taking place in 2018 see’s Laurie Strode as a much older and hardened woman. She now has both a daughter and granddaughter who are very distant from her as the only thing that’s been on Laurie’s mind is Michael Meyer’s fateful return to Haddonfield and her chance to end the nightmare that’s been haunting her for the past 40 years.

David Gordon Green’s new Halloween is a great sequel to the original while also being a great homage to the many different films in series. Green’s film does many of my favorite things that I liked about the original but gives it an updated feel that does an effective job. The iconic long takes from the original is here in this film and they are just as terrifying and entertaining as they were in the 70’s. The new film is a great sequel to the original and I could tell that McBride and Green were big fans of the original film as they honestly delivered on crafting a Halloween movie that should appease to the fans of the original but will attract newcomers to the franchise. Michael Meyers is older but just as terrifying and gruesome than he could ever be. The film doesn’t hold back on the many kills and does a good job on showcasing how evil of a monster Michael Meyer’s is. Jamie Lee Curtis performance as Laurie Strode was excellent. I really liked how her character’s past was the main backbone of the film and the aftermath from being stalked by a serial killer and losing her friends and how that has shaped her and what she must do to protect her family and everyone else from the pure evil that has returned to Haddonfield.

John Carpenter’s score was also another highlight about the new film. The original movies score is one of my favorite movie scores of all time and I really thought he and his team outdid themselves in the film as hearing the updated iconic theme in the film brought a huge smile on my face. The score really delivered in the new film and its definitely the best since the original two films in the series. The new Halloween movie was an awesome sequel/update that delivered on the scares, and tension and brings an old horror legend back into the forefront with one of the best sequels in the series. The only gripe I have about the new film is the twist at the last act to the end which I thought felt came out of nowhere and could have been fleshed out more as I really didn’t see the point of it. Compared to Halloween H20’’s ending, I felt like the new film could have ended much stronger instead of feeling rushed. Overall Halloween is my favorite horror film that I’ve seen this year in theaters and I hope everyone enjoys the updated return of Michael Meyers who helped put the slasher genre on the map.

4 Q’s out of 5

[javegar457]

P2

1)      I only have one idea that I will be working on, however if I had to create other ideas for future products I would use the website: bubbl.us. I would first make a spider diagram about the different Genre’s and pick three from the diagram and then start forming stories around those genres e.g. Sci-Fi, this story would be about a two people on their way to a new world via a classic looking naval ship, the ship then gets attacked by pirates, the crew of the space ship defeats the pirates and then the two main characters get married on the new planet.

2)      The two genre that my story are: Mystery and Horror.

a.       The Mystery genre revolves around the solution of a problem or a crime. It often focuses on the efforts of the detective, private investigator or an amateur sleuth in order to solve the very mysterious circumstances of an issue by means of discovering clues, investigating the area and clever deduction. The main characters are usually detectives who set out to solve the mystery. For example Scooby-doo and the Mystery Gang or Sherlock Holms and John Watson.

b.      The Horror genre taps into humanities deepest fears and anxieties and what is suggested is more than often frightening than what is revealed. For example the Germanic Expressionistic films of the 1920s, influenced by the English Gothic novel, were among the first examples of the Genre. The typical character of the Horror genre is a victim, rather than a hero; the antagonist, who is often manifested as a technological aberration like Frankenstein’s monster or social aberrations like Jason from the Friday the 13th movies, or Freddy from Nightmare on Elm Street or Michael Meyers from the Halloween movies; unbridled aggression and character sexuality usually plays an important role. Technology, science and scientific activity often unleash the antagonist.

3)      The conflict of my story is that there is a ghost that is haunting a house of the secondary protagonist, whose name is Shannon Moss and it is up to James to stop the poltergeist, and at the end of the animation it is revealed that the poltergeist is Shannon Mosses grandfather.

4)      My story has four acts. A standard story usually has three acts however occasionally stories have more than three acts. My story is going to have four acts because I have decided to split Act 2 into 2 acts.

a.       Act 1 introduces the viewers to the main characters and what is going to happen to them in the story.  This is my Act 1.

b.      The animation starts off with James waking up, he gets out of bed and goes to the sink; he brushes his teeth, bends down to spit, the camera pans but up to the sink’s mirror to show a ghostly face in the mirror that introduces the title of the show. He leaves the bathroom and gets dressed, he then walks down his stairs to the kitchen; he makes cheese on toast and leaves his house and travels to his work place.

c.       Act Two is the conflict of the story, this act is where the major conflict between two or more people occur or between a person and a creature of an unknown thing. This is my Act 2 which has been split into 2 sub Acts.

d.      Sub Act 2 – 1: He is ordered by his chief to go to a nearby house which has reported some very strange occurrences happening in their house. James makes his way to the house and knocks on the door, the door opens to a dishevelled looking woman, the woman asks who is it and James replies that he is Detective James Celestial and he was sent over by his Sargent. James asks if he can come in and is let in, he asks who he is talking to and the woman introduces herself as Shannon Moss, he investigates the house and doesn’t find anything, he then goes out to his van and takes out some ghost hunting equipment, he then places infrared/night vision cameras around Shannon’s house and sets up a broadcast to his home computer so he can monitor the house. He then leaves and returns to the police station to make his report. He then returns to his home and sets up his computer. He loads up the camera feed and proceeds to record the cameras. Over the night the cameras record footage but start to white screen. In the morning James check’s his computer for the camera footage and discovers that over half of the footage (between the hours of two am and six) are nothing but white static.

e.      Sub Act 2 – 2: He rewinds the footage and watches as the video starts off normal, the woman eats dinner, watches T.V and then goes up to bed. The video feed continues normally until eleven, where the T.V. in the living room turns onto a white static channel, the chairs in the dining room stack themselves, the clock beside the camera in the hallway reverses itself from the current time to five o’clock and very different things happen, James then looks at the feed in the main bed room, where Shannon was sleeping, the covers start being pulled away and a dark figure can be seen in the corner of the room. Before the camera cuts to white static James gets jump scared when a black silhouette appears in the screen and what is very creepy is that the silhouette has white pinprick eyes and a white teeth smile, feeling very creeped out James stops the recording as the recording had gone to white static. James then makes copies of the recording and goes to work. He presents his findings to his superior, James’s superior orders James to stay on the woman’s case. James then goes to Shannon’s house and is invited in, James feels as if he is not welcome in the house, and for the first time he sees the ghostly beginnings’, James then bed’s down for the night and has a restless sleep.

f.        The third and final act is usually where the story ends and has a resolution to the conflict and story, however some stories can end on a cliff-hanger. This is my act three:

g.       The next morning James wakes up on the kitchen table, the house a mess and nearly all the camera and recording equipment destroyed, hurriedly he checks the laptop, luckily the laptop is not damaged, he gets dressed and travels home, he opens the laptop and checks the video feed, nothing happens until the witching hour where everything happens and then the ghost makes its appearance and four were the ghost picks up James and take him down to the table. Then the camera cuts out. Then the camera cuts to James looking scared out of his wits, later at night time, James goes to bed, when he lays down in and closes his eyes the last shot is of the ghost appearing in his room before the screen goes to black.

5)      The two main characters of James Celestial and Shannon Moss. James is a police officer/detective and a paranormal investigator in his spare time. James is sent to Shannon’s house by his superior in response to a nose complaint. Shannon Moss is a teacher at Belfast High. In the Middle of one night Shannon is awoken by creepy sounds and her belongings being thrown around the room, eventually she is chased out of her home and one of her neighbors phones a nose compliant on her.

[nightmareonfilmstreet]

Danielle Harris' INOPERABLE Coming to Theaters

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Danielle Harris' INOPERABLE Coming to Theaters

Every hospital I have ever stepped foot in feels like an inescapable limbo specifically designed to entrap my family and destroy my soul. I can relate very well, then, to Christopher Lawrence Chapman’s new film Inoperable. The film, which premiered at last month’s FEARnyc Festival, stars Scream Queen Danielle Harris and is looking forward to a theatrical release this December.

In the film, Harris plays Amy, who is:

 …a woman in a seemingly evacuated hospital with a hurricane approaching that has awakened malevolent forces inside. The woman realizes she is trapped in a time loop and must escape the hospital before the storm passes, or she will be trapped there forever.

The film will see a week-long distribution in theaters in Los Angeles, New York, Atlanta, Houston, Phoenix, Tampa, Miami, Orlando, Cleveland and Minneapolis starting December 1st. Harris, who rose to fame as everyone’s favorite niece in 1988’s Halloween 4: The Return of Michael Meyers and 1989’s Halloween 5: The Revenge of Michael Meyers. These films, while perhaps over-titled, were welcomed by some (incorrect) fans of the Halloween universe as they brought back Meyers after the series had the temerity to try an installment without his familiar shape. Harris also enjoyed another run at Michael in Rob Zombie’s remakes of Halloween and Halloween II, as well as a celebrated turn as Marybeth in two Hatchet sequels.

The film also stars Katie Keene (ClownTown), Jeff Denton (The Hitchhiker) and Cher Hubsher (The Amityville Terror). Christopher Lawrence Chapman wrote the film alongside Jeff Miller, whose Millman Productions and Zorya Films produced. If you aren’t near one of the cities listed above, you may have to wait a little while before catching the picture. As of right now, there is no news regarding a VOD or home release, but we here at Nightmare on Film Street will update you when any information is made available.