The return of Jamie Lee Curtis marks a glorious revival for the series, a pure spark of life that makes Resurrection the best in the franchise second only to its glorious original (with exception to Session of the Witch, but that stands alone, bangin’ potentially underage automatons). A clear result of the post-Scream ’90s, it is a wonderfully smart and well made slasher that wades deep into the swampy bog of its maligned genre with confidence and grace, carrying with it the weight of strong characters, brooding atmosphere and great visual scares.

H2O tries very hard to bring Myers back to his/its roots, and the effort pays off. It is smart and stylish, sharp and witty. While a double feature of this and Scream would make H2O redundant, Halloween needed to bring the strong female back since its failing to do so in Return, Revenge and Curse. In fact since Laurie’s “death” no feminine character has managed to step up to the challenge for the franchise. Luckily we had Donald Pleasance to always fill the void, his unfortunate loss is a void for the series that could only be filled with the return of the other series progenitor.

Myers’ killing spree is a standard affair, with the jump scares we’ve all come to expect. It is the characters that the true horror arises from. Laurie, attempting to navigate through life as a normal woman in the witness protection program, is dating a counselor who does not know her true name or origins at the start of the film. His addition is refreshing – just a regular guy who loves the protagonist waiting to become canon fodder. LL Cool J(ay?) is around, for reasons, I guess, but a humorous “twist” involving his faux-death is a nice microcosm of this film as a whole. Witty, if cheesey, but loving of its source material.

Oh, and Josh Hartnett is in it. The ’90s Halloween movies were a strange springboard for many (Joseph Gordon-Levitt gets a hockey ski to the face within the first ten minutes).


Then Resurrection rolls around, scraping the bottom of the barrel clean of any original ideas. Luckily Katee Sackhoff is in it.

Busta Rhymes has the genius idea to film the Myers’ household with camera, throw in a bunch of college kids, and broadcast it online. The commentary here is paper thin, and would have been interesting if anything were done with it. This is not the case.

Myers returns, finally breaking away from killing sisters and nieces and in favor of just killing, officially severing all ties with the franchise. Resurrection is a bland and repetitive experience, altogether unimportant and just barely watchable to tick that box off the list. Busta Rhymes ends the movie with a monologue about the media’s obsession with sensationalism, and is so poorly written and delivered it is thankful it is such a decisive conclusion to an unfortunate franchise addition.