When it comes to scary movie soundtracks, there aren’t many that can conjure as much tension with as few notes as John Williams’s score in the film Jaws. Of course that iconic, sinister “baaaah-dum” sits comfortably at the top of the list of effective and efficient horror themes. But a close second might have to be those few rapid-fire, high-pitched notes set against that deep, menacing bass in another beloved 1970s classic—Halloween (1978). As soon as John Carpenter’s score kicks in, the hair on the back of your neck stands at attention, and your eyes scan the screen, searching for the hollow stare of that mangled mask, the flash of that knife. Perhaps it’s 
precisely thanks to this deceptive sense of predictability developed after nine sequels and remakes, just when you think you know what to expect, that the tenth film in the franchise surprises you with something new. With a lot to live up to, Halloween (2018) unexpectedly, and thankfully, delivers.
In many ways, this newest film is a remake of the whole franchise—it wipes the sequel slate clean, and starts in the present day, 40 years after the original. Perhaps drawing from Carpenter’s fantasies, it pretends that none of the rest of the films were made, and that the serial killer Michael Myers, who slaughtered five people in the first film, has been locked up in a psychiatric institution this whole time. But unfortunately for Myers, awaiting him all along has been the one that got away: Laurie Strode (Jamie Lee Curtis).
After escaping Myers’s relentless clutches all those years ago, Strode is now a frazzled, tough-as-nails grandmother, and we soon learn that she’s built her whole life around the moment when she’ll be able to confront her tormenter—to the detriment of her relationships, her family, and possibly even her own sanity. Strode’s daughter, played by the delightful Judy Greer (get it, Michigan girl!), wants to put her doomsday prepper childhood behind her and live a simple life with her husband and teenage daughter, but her mother refuses to ease up. In the meantime, the film is also tracking another storyline—Myers has a transfer scheduled. The bus crashes. And suddenly, everyone starts turning to Strode for answers.
So why is this film so delightfully entertaining? So gratifyingly spooky? Dear readers, let me count the ways. First, we have the storyline. Mirroring the cadence of the development of horror cinema itself over the past four decades, the film starts out painfully slow and measured, with little action and lots of backstory. But by the end of Halloween (2018), you’re on the edge of your seat, straining and squinting past the gore, and cheering for the protagonists through every satisfyingly action-packed moment.
Second, the scares. Now as you know I’m not the biggest fan of gore, and this film certainly doesn’t hold back. But what’s new is the gore builds—at first we get glimpses of murderous activity in the background, and we pan slowly across corpses after the act. But then we start to catch more and more of the disgustingly deathly deeds. We are introduced gradually and conditioned carefully, and in a world of blood-soaked horror films where brutally-gruesome deaths are expected in the very opening scenes, few filmmakers these days take the time to build the carnage slowly. That alone takes—pardon the pun—guts, and holds the audience in eager anticipation of what’s to come.
Third, the film takes a pretty refreshing approach to familiar old horror tropes. Yes, we have babysitters and kids, but this time their relationship is believable, and the kid is genuinely hilarious (shoutout to Jibrail Nantambu). Yes we also have scenes where you find yourself screaming at the screen, “Don’t do it!” and you’re rolling your eyes at some
pretty dumb decisions. But just when you think you know exactly what’s to come, the action shifts, the plot veers off course, and you’re taken by surprise. Plus, without giving too much away, lets just say that Halloween (2018) quietly does a heck of a lot more with female characters and even feminism itself than other films that self-righteously proclaim to do so.
Lastly, there’s all the ways that this film is a true homage to the orig—the OG itself, Halloween (1978). And I’m not just talking about the theme song or the fact that Myers is played by the same actor as in the original (so cool). Somehow while staying true to its present-day setting, Halloween (2018) takes us back to that first, crisp, fall night in the 70s—from the lettering of the opening credits, to the vintage wardrobe decisions, to that familiarly frightening labored breathing we’ve come to know and fear. Keeping the best of the original and freshening things up for today’s audiences, this film simply gets it right.
SpecialK Verdict: Whether you’re a true fan of the original, or just looking for some fun and frightening thrills this fall, do not miss Halloween (2018). Happy anniversary, Mr. Myers.
Halloween (2018) opens Friday, October 19.
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