Back in 2018, the writing team of Jeff Fradley, Danny McBride & David Gordon Green did the unthinkable and brought Michael Myers back to life and stalked the big screens once again.
With a strong focus on the long lasting effects that trauma has on us all and who better to champion this cause than ultimate survivor, Laurie Strode (Jamie Lee Curtis – who turned out a phenomenal performance in that role).
Fans both old and new alike were lapping up this brutal the on a 40 year old franchise, so it was inevitable that further two movies would arise. However…
People (myself included) felt let down by the directorial path that was chosen. Halloween Kills felt like a fluff piece, a filler if you will to bring about the conclusion and along with it the end to the franchise??
Despite this, there were some faithful to the resurrection (ooh, bad choice of word. I’m still having my own trauma counselling over that movie :p) and were keen to see how the trilogy would play out. Again I would include myself in those who waited with anticipation.
But before we get to my thoughts on this, let’s view the trilogy through the trauma lens and the five stages of grief, as I personally find that this ties in with the central theme and our understanding of the creative mindset.
Halloween (2018) would set up the premise of trauma and its unshakeable hold on the victims with stage 1 – Denial. Most of the characters are in a state of denial, with the exception of Laurie, who is so immersed in the state that she is on a deeper level and knows that the shape of evil will always be there as long as Michael is alive. This is her mantra and never waivers across the three movies.
Moving into Halloween Kills (2021) and we traverse through stage 2 – Anger with our rising vigilantes and stage 3 – bargaining as those who try to lure Michael to his death end up bargaining with their own.
So, now we come to Halloween Ends (2022) which must then face the final two stages: Depression and Acceptance. The former of the two does not bode well to focus on for the feature but go there it does.
The feature picks up with two of our central survivors Laurie and her granddaughter Allyson (Andi Matichak) and the remnants of Haddonfield. Among the residents is Corey Cunningham (Rohan Campbell) a boy who accidentally kills the kid he is babysitting and is forever tarnished among his community. It is here that he is quickly thrust into comparison with Michael, and the new face of evil. As much as Corey struggles to reassert himself, he is further quashed and forced to ask whether he should just concede to his fate.
David Gordon Green continually likes to dabble with the whole nature vs nurture idea and with it starts to lose the kernel of a Halloween franchise movie; namely Myers on a killing rampage. By shifting the core perspective to Corey and away from Myers, the more we question the true heart of the movie. In fact, Myers has been left residing in an abandoned sewer beneath the Haddonfield streets to lick his wounds, like a paltry Pennywise wannabe,
The silver lining of hope comes with Allyson who develops a romantic interest with Corey; a moth to the flame of violence. The other kindled romance is between Laurie and Deputy Frank Hawkins (Will Patton); is there still a chance of happiness for Laurie?
As we build to the films’ climax, the characters must ultimately face acceptance. Do they acknowledge their past, shake off the shackles of accusations and character assassinations, or let trauma (Myers and his myth) win?
You play with fire and you’re gonna get burned.
David Gordon Green and Danny McBride struck gold when they first brought Myers back to our screens and the subject of trauma.
But by continually going back into the frey, the strength of their initial premise wanes. By sidelining Myers in their quest to scrutinise the impact of grief and trauma, they lose the essence of Halloween, With it they have inadvertently killed off the franchise, perhaps forever. Those devoted to Halloween must now go through their own 5 steps of grief but it’s debatable if we will ever reach acceptance.
1. Identify the ideas, themes & executional elements that make the first film great. Or at least good. Or at least worthy of being sequelised.
Part of its appeal alongside the sheer force of The Shape carving his way through Haddonfield once again, juxtaposed by the fragility and strength of Laurie Strode, magnificently portrayed by Jamie Lee Curtis, was how the film played to the damaging effects that trauma has on humanity, and how some condition themselves to the impact that this has had on their lives.
Where Halloween 2018 leaned into early stages of trauma through the eyes of the Strode family, who are in complete denial, numbed to the exposure that Laurie’s turmoil has taken, or through the taking on the pain and guilt of surviving such an ordeal, the latest outing needs to take this to the next level, Anger and Bargaining. The only problem with these emotions is that there isn’t a lot on the dial to play with. Each character that embodies these emotions invariably meet their grisly end as a result. Not that this completely squashes the narrative however, as the re-introduced character of Tommy Doyle (Anthony Michael Hall) who leads a vigilante group on a mission to end evil and kill Myers for good. It certainly shines a light on the consequences that a mob mentality can have when confronting trauma. Brute force against brute force will always lead to ruin where there are no winners.
It’s biggest strength is in its central antagonist, Michael, who never holds back, continuing the theme from the 2018 feature. As it should be. He is and will always be the draw card to the franchise, and I’m glad to say that he never disappoints, arguably his portrayal here is one of the finest in the franchise.
It’s other strength from 2018, is with Jamie Lee Curtis.. Every moment she is on screen, you are willing for her to bring the same exhaustive performance. However, she is subjected to a more minor role, still an important one, as between her and the wounded Deputy Frank Hawkins (Will Patton) provide hope through acceptance, through what will be the final step in moving through a traumatic event.
2. Pay homage and do not violate/ignore said ideas and themes and elements
Here, Green still pays homage to the franchise as a whole, using elements that have played key roles or images that have been instilled from previous films, such as Halloween III: Season of the Witch, with the skeleton, pumpkin, and the witch. The creative team have proven before that they are lovers of the franchise and here is no exception to that rule. So, for this, they continue to immerse the viewer and expand on that sense of nostalgia without causing damage at all.
3. Introduce new/expanded themes, ideas and elements that will NATURALLY ALIGN to your first ideas, themes & elements. As mentioned, the new elements introduced in this movie expand on the themes of trauma, most notably anger. This feels like a natural cause of action following the 2018 feature. The second part of this trajectory is through bargaining, a trait that is mostly seen through Karen (Judy Greer), in many ways the heart of the movie, pleading with her mother Laurie to listen to reason, desperately trying to save the life of the prison inmate, wrongly identified as Michael. This only makes her actions bittersweet in the face of the movie’s climax, a step that needed to be taken in order for the survivors, whoever they may be, to heal.
4. DO NOT rehash the first film and just give people “more of the same”.
This is where the movie starts to fall down a little. While it tries to push the story arc along, it fails to resonate a beat and quicken the pulse at all. It is happy to play with the same kind of energy, but in doing so falls flat and starts to feel like it is a filler movie between Halloween and what will ultimately be Halloween Ends.It struggles to shift outside of this and doesn’t deliver as a result.
5. DO NOT-NOT rehash the first film by giving more of the same…. BUT “BIGGER”.
It could be argued here too that they’ve tried to go bigger, and who could blame them, and in part Michael falls into this category. I would counter this though by saying in the very action of attempting to go bigger, they lose sight of the integral components, and the raw energy captured before. It feels a little flat in its execution and disconnects from the viewer.
6. Be a good enough stand-alone film by itself.
And for its final hurdle in our 6 rules for a great sequel, Halloween Kills stumbles. It fails to be viewed as a stand alone movie as it relies too greatly on its predecessors. It is these movies that allow the feature to stand tall, but take away these crutches, there isn’t a lot left on show.
So, where does that leave things with Halloween Kills? Well, it manages to execute 3 out of 6 rules successfully, which falls in line with my gut reaction. I marked it as a little over average and falls short of the previous movie.
Yes, it’s a filler and it might feel more satisfying once Halloween Ends completes that cycle. Until then, we’re left with a vaguely entertaining movie that tries to satisfy the core fans, some of whom will be content, but others will note the lack of impact that came in 2018.
25 years ago, before Scream would reawaken the horror genre and generate a plethora of like minded movies came a film that tapped wholly into my adolescent brain. I’ll let you decide which part of the brain from which I am referring. Needless to say, Fairuza Balk’s Nancy stirred something inside me that yearned for and connected with females who drifted outside the mainstream of what was considered “normal”.
Recently, The Craftwas given new life in the public eye thanks to its sequel of sorts, The Craft: Legacyreleased by Blumhouse last year, but somehow it failed to ignite the same passion as the original.
Some of this could easily be put down to its strong, young cast with the afore-mentioned Fairuza playing the main antagonist to Robin Tunney’s white witch, Sarah in what is essentially a coming of age teen-drama. Joining these two are also Neve Campbell, Rachel True, Skeet Ulrich, and Christine Taylor, who all essentially lift what comes across as a medicroe tale when reviewed through today’s eyes.
It still however holds a strong place in my heart, despite its flaws and molded my love of 90s teen horror as a result. What can I say, it’s my achilles heel.
It helps that swiftly following TheCraft came the behemoth of Teen Slasher films… Screamdirected by the great, Wes Craven. It also boasted two of the movie’s stars in Neve Campbell and Skeet Ulrich whose careers were rightfully projected to stardom as a result.
Scream is now the stuff of legend with its meta representation of the horror franchise and again boasted an awesome cast with Courtney Cox, David Arqette, Matthew Lillard, Rose McGowan, Jamie Kennedy and let’s not forget that killer opening sequence with Drew Barrymore. Before the decade was out a sequel would also follow the following year and along with it a franchise and Ghostface’s interchangeable personna was born.
Chief among setting the tone for the decade and the success that followed in Scream’s wake was Dawson’s Creek scribe Kevin Williamson, who managed to tap into the pulse of those of my generation, eager to be understood and have those “deep and meaningful’ relationship discussions.
By 1997, Williamson was just starting to hit his stride with I Know What You Did Last Summerstarring Campbell’s fellow Party of Five alumni Jennifer Love-Hewitt.
Love-Hewitt stars as Julie James, who along with three other school friends (Ryan Philippe, Freddie Prinze Jr. and Sarah Michelle Gellar, the latter was already on the rise thanks to a certain Buffy role) accidentally run down a stranger on the road and leave him for dead. It’s basically an elongated urban legend with the man with a hook hellbent on revenge. Like Scream it would also generate a franchise with a further two sequels to cash the cow.
Back to the Dawson’s Creek connection and another teen horror, Disturbing Behaviourthat would be released in 1998, the busiest year for the sub-genre, At the time, I more-than jumped on this band-wagon following Katie Holmes’ second feature film. This was a time when I, like Dawson, was undecided about the whole Joey/Jen thing, before realising in my case, that Michelle Williams was always the more interesting person to watch on screen, but more about her in a moment.
Disturbing Behaviour is probably the weakest in this line up of movies, but does boast James Marsden and Nick Stahl in the mix, in a tale of idyllic suburbia with a sour undertone in both its take of the American Dream and repressed teenage sexuality but it does still have the same beats and touches on the same wavelength that was being generated at the time.
Onto Holmes’ counterpart, Michelle Williams, who, again in my opinion, deserves greater praise for the work that she produces each year. In 1998, Williams would be cast in the support role of Molly in one of Horrors biggest franchises, Halloween.
Halloween H20: 20 Years Later would have Kevin Williamson on writing duties, so it’s no wonder that Williams would connect well with the screenplay. Aside from bringing Jamie Lee Curtis back for the first time since Halloween 2 to pit against Michael Myers, it also introduced us to the so fresh and hot right now, Josh Hartnett. Let’s not talk about that hair cut though, for in his other movie that year, The Faculty, he slipped easily into the bad boy, good heart character with a brooding presence. Oh and that guy Kevin Williamson is behind the screenplay again.
When I first watched The Faculty I had a strong negative reaction to it, as I wore my snobbery hat when I watched it and took all the homagees embedded within as rip=offs of the great films that preceded it. I was a huge fan of director Rober Rodriguez at the time, which I think added to my disappointment further.
I have since grown to love this film more though and recognise it for what it was, a love of sci fi horror and again had some great stars in Elijah Wood (pre-LOTR), Jordana Brewster, Clea Duvall (I had such a thing for her too – Apparently I have a type, just ask fellow Surgeon Antony Yee), Laura Harris, Salma Hayek, Famke Janssen, Bebe Neuwirth, Robert Patrick, Shawn Hatosy, Jon Stewart, and Piper Laurie. It definitely warrants repeat viewing and holds up because of the fun energy and bold direction that Rodriuez alway brings to his movies.
Rounding out the quartet of movies for 1998 is Urban Legend which is a little forgotten despite generating a franchise in its own right and another strong cast considering with Alicia Witt, Jared Leto, Tara Reid, Rebecca Gayheart, Michael Rosenbaum, Joshua Jackson (Dawson’s Creek again), Robert Englund, and Danielle Harris into the fold. It captures the urban legend tales of horror well enough but can’t quite shake off the fact that it’s riding on the coattails of stronger movies and suffers a little with age.
My last notable film to mention however lifts the half-decade of teen horror back to higher standards with its clearly tongue in cheek tale, Idle Hands where a stoner, Anton (Devon Sawa currently seen in a cracking film, Hunter Hunter) who discovers his hands are possessed after waking up to find his parents murdered. A cool cast again with Jessica Alba and Seth Green, Idle Hands is great fun to watch and definitely not to be taken seriously.
Sawa would also go on to star in another cracking film at the turn of the next decade in Final Destination as the trend would dial down a little.
For those 5-6 years though, it would produce a number of movies, some to hold high and some probably best forgotten but for nostalgic reasons still resonate with me today. I can only blame Nancy. I should have taken the heed and bound her from harm… harm to others and harm to myself…
It’s been a long time coming. Since 1978 fans of Michael Myers have endured the ups and downs of their favourite slasher as he carved his way through the residents of Haddonfield, but never has captured the hearts and imagination of John Carpenter’s original vision.
We’ve seen Myers omitted from the franchise only to be brought back to stalk his niece, then inflicted with an ancient curse, played the part of a reality TV series, and then reimagined by director Rob Zombie with conflicting results.
It seemed that Myers was dead and buried, but when ‘hotter than hot right now’, production team Blumhouse started to taut the idea of bring him back to the screens once more, a new-found interest began to surface once again.
There were certain things that began to fall into place, such as the return of Jamie Lee Curtis as Laurie Strode (albeit with slight reservation as they had done this before), which was rewarded further with the approval of Carpenter himself, plus part of his agreement was that he would provide the score. Hell yeah!
It might be a small thing but with the casting of Nick Castle to the Shape back to Myers cemented things for their storyline, which would be set 40 years after the original events transpired. The catch, none of the other movies in the franchise would exist. The producers would be picking up the baton without the sequels to muddy the water.
The other slight snag is that director David Gordon Green and his writing collaborator Danny McBride, normally associated with comedy were attached to steer this new direction. The screenplay they presented had the approval of those around them, but could they pull off a horror slasher and one that comes with so much expectation?
As the pre-credits began to roll, you suddenly felt that they had got the tone just right, ranging from the familiar score charging up the emotions and the image of the pumpkin rebuilding itself with a giant metaphor for the franchise. Halloween is back and they’re going to make it as damn good as they can, whilst keeping in tone of the original movie.
As the film unfolds it soon becomes apparent that what Green and McBride are telling isn’t just a typical horror film, but one of the trauma and the suffering that one faces when they have gone through a massive ordeal such as the one Laurie Strode faced all those years ago. What does that do to the psyche? What would happen to someone like Laurie and how would she cope back once faced with the reality of her situation? The choice was to place her as a survivor of sorts who is still fighting her demons, as she has become a modern day doomsday prepper, although in her case, Laurie isn’t preparing for the end of the world, but her inevitable last encounter with Michael Myers.
Jamie Lee Curtis does an amazing job of portraying Laurie and the impact that her character has had on her family. I’m not sure if I can recall her ever showing such raw emotion on screen, but she is able to deliver a full range of vulnerability, compassion, strength, and empowerment and with it she harnesses the other characters with her to produce a well-accomplished, solid movie. Laurie Strode is now a symbol of the effect that trauma has on those who’ve lived it or experienced it. In one scene, Jamie Lee Curtis is so broken in her portrayal that you can see the pain etched across her face as her whole body folds in on itself. It truly is a wonderful performance and a fitting one as we move in a time of change and recognition of the suffering that women have had to endure over the years, forced to bury their emotions in a world that didn’t or refused to understand.
On Laurie’s journey of torment is her daughter, Karen, (who has had to bear the suffering of a childhood trapped in fear) and her Granddaughter, Allyson (a symbol of hope and understanding). Allyson almost represents the overall message here for the Halloween franchise. We have to bypass a whole generation in order to rebuild for the future. Our hands rest in the youth of tomorrow and if anyone is going to tap into that generation, it’s Blumhouse.
That’s no to say that Halloween doesn’t ignore the people that have had to tolerate each new chapter, if anything the movie wears it on its sleeve with plenty of nods and references along the way. It’s a fine line to tread, but Green manages to keep a perfect balance of old and new, whilst still offering something fresh and serving decent bouts of nostalgia to please all and sundry.
There are some stints of humour along the way though. It’s not all doom and gloom. Green is a comedy director first and foremost but he doesn’t saturate the film with light-hearted moments, instead he delivers when the beats serve it and it lifts the film all the more, especially with the scene in which Julian is being babysat for by Allyson’s friend, Vicky. It’s a great little exchange between the two of them that you know will just go sour as soon as Michael enters the scene.
As for our beloved psychopath, Michael, he hasn’t gone without his own set of changes. Having been incarcerated for 40 years, he too has bottled up his emotions, stifled from a system that refuses to let him indulge in his passion for killing. So when he does break free from prison bus transportation, he unleashes with such brutality that hasn’t been present in the franchise before. This suppressed Michael will stop at nothing to go on his killing rampage, selectively picking his victims at will, before coming face to face with his nemesis Laurie again.
The climax of the movie also hits some great strides and rewards with the choices that the characters take to meet the conclusion and puts you through the wringer whilst leaving you pleasantly satisfied with the result.
“Welcome back Michael Myers.
David Gordon Green and Danny McBride have successfully resurrected new life into a much-loved franchise and delivered a movie that will delight both old and new generations alike.
Congratulations to the Blumhouse team. You’ve produced the best Halloween film in 40 years.”
What does this mean to the genre as a whole? It can spell good news as the movie business see success and a money opportunity to exploit this genre to the bone.
This could mean an outpour of horrendous carbon copy movies that will grate to the bone, but it can’t be as bad as Amityville: The Awakening, Leatherface, or Jeepers Creepers 3 right?
But let’s not be too hasty on the negative-front. What does look promising is that we could very well get some fine horror films churning out over the coming years.
So with that in mind, the team stitched our collective minds together and come up with 18 of the most anticipated horror movies coming out that we would love to bring into the operating theatre and splice them wide open.
Directed by Alex Garland and starring Natalie Portman, Jennifer Jason Leigh, and Oscar Isaac looks off the dial.
The fact that it has been picked up by Netflix for a release some 17 days after its cinematic release has left some people scratching their heads as to whether or not this film has merit, but that’s old school thinking.
We at Surgeons see this at as a bold attempt at a streaming company to make their move onto the big arena.
If the trailer is anything to go by this film could be a massive hit and shape up the distribution method in a big way.
Some may instantly see comparisons with The Autopsy of Jane Doe with this one, but this story of a city cop fresh out of rehab, who takes up a role at the city hospital morgue, could very well be a trippy affair, where sanity is on the line.
You’d be remiss to neglect this one on the list. With the return of Jamie Lee Curtis and Nick Castle in their respective roles, alongside the creative minds of David Gordon Green and Danny McBride, can we finally see Michael Myers rampaging his way that will delight and reignite the franchise once more?
The House With A Clock In Its Walls
Cate Blanchett and Jack Black lead the charge in Eli Roth’s latest feature about a young orphan and his magical uncle who go in search of a clock that could bring about the end of the world.
Could we see a return of fantasy horror on the big screen? Can Roth extend his bloody touch to go beyond the success of Green Inferno?
Whilst this has already been released in the States, the Surgeons team who are based in Australia, need to wait with eager anticipation for Elise Rainer and her team of ghost hunters to delve into the Further once more.
Early reports suggest that Lin Shaye continues to impress in her role, but that the franchise may have run its course. We’ll have to wait and see before we cast our thoughts on the latest addition to the franchise.
2015’s release of The Witch and its success may have reawakened that love of folk horror, which has been embedded in British culture with the likes of The Wicker Man, Witchfinder General, and Blood on Satan’s Claw, has some of our team intrigued by this latest offering.
Set in 1920’s Ireland, a twin brother and sister must endure a sinister presence with a strong hold over them that may result in turning them against one another with drastic circumstances.
Whether you like him or not Jason Statham has a habit of packing a punch when it comes to ‘balls to the wall, testosterone-fuelled action movies.
Now he must come face-to-face come face to face with a 70-foot shark.
“You’re gonna need a bigger air tank.”
The New Mutants
When Logan was released and with the success that followed, Marvel were then faced with the enterprise of a much darker world.
In steps, The New Mutants which sees Anya Taylor-Joy (The Witch, Split) and Maisie Williams (Game of Thrones) among the imprisoned young mutants as they discover their new-found abilities and potential salvation.
Speaking of franchises, The Conjuringuniverse continues to expand and haunt in more delectable ways to terrify our souls with the much-anticipated return of Valak.
In this instance, Rome is our setting and Father Burke is sent to investigate the mysterious death of a nun. Burke played by Demian Bichir, who I hope is given more time to flex his acting muscles compared to his under-used performance in Ridley Scott’s Alien: Covenant.
Gary Dauberman from It, Annabelle:Creation, and The Conjuring 2 is back on board to write the screenplay, so expect similar twists, turns, and scares to arise.
In addition, Corin Hardy steps in to direct, who oversaw the surprisingly decent The Hallow from a few years back and has been given the vote of confidence to resurrect The Crow, starring Jason Mamoa.
Becoming something of the lesser cousin to the Alien franchise, The Predator universe has never managed to really make a dent beyond its original Arnie feature, which surprises as it is ripe full of potential.
One of the original stars Shane Black is on to direct, so you could argue that there isn’t anyone closer to the source to re-capture the magic of the first film, and he has proven success with Kiss Kiss, Bang Bang and Iron Man 3, but is that enough to win over fans and the many?
The additions of Oliva Munn, and Thomas Jane, who has had a something of a career comeback with Before I Wake, and 1922 of late, could very well help cement this together.
Where some were left aggrieved following the screening of It Comes At Night, (which is probably the best example of false advertising when it comes to luring your audience in – as an aside its actually a pretty decent and intense movie, just not how it was promoted) will no doubt have their needs met in this movie, which promises an intense and horrific ordeal.
John Krasinski directs and stars in his passion project alongside Emily Blunt as part of a family forced to live in silence from an unknown threat that will attack with the slightest noise.
The first film had horror fans divided – a bit like vegemite, you either love it, or hate it. For those that fell into the former category, they can rejoice as the trio of masked psychopaths return to reek havoc on some more prey.
The cast includes Christina Hendricks (Mad Men, The Neon Demon) and Martin Henderson (The Ring, Everest) and is directed by Johannes Roberts (47 Meters Down, The Other Side of the Door) but don’t let that sway you as he also helmed the magnificent F, and if he could tap the rage and anarchy unleashed in that movie, we could have a surprise hit on our hands.
Horror production giants, Blumhouse, who have been partly responsible for the rise in recent genre movies will be hoping to keep the trend going and repeat their successes of Get Out, and Happy Death Day.
Truth or Dare follows a group of friends who play a deadly version of said game when those that break the rules start a meet a grisly end.
Critically praised film director, Steven Soderbergh enters the horror arena with his usual approach to exploring different filming techniques, in this instance shooting the entire film on an iPhone camera.
The cast is also impressive with Claire Foy (The Crown), entering a mental institution and once again reality comes into question. Foy is accompanied by Juno Temple (Horns), Aimee Mullins (Stranger Things), Amy Irving (Carrie) and Joshua Leonard (The Blair Witch Project).
If The New Mutants is going to push the boundaires of darkness in the Marvel universe, then Venom will surely rip that apart and enter whole new level of insanity.
With Tom Hardy taking on the titular character, you can expect some hefty weight in the acting department.
It’s a project that is shrouded in secrecy at the moment and just a few screenshots that have been handed out to the media. Lets hope that it will be worth the wait.
Helen Mirren takes on the role of Lady Winchester house, heiress to the Winchester firearms, who becomes obsessed with building a house to trap ghosts with one of the most obscure architecture ever built.
From the creative minds of the Spierig Brothers (Undead, Daybreakers), this movie could be hit or miss.
OUR PENULTIMATE PODCAST in the Halloween franchise discussions combines both Halloween H20: 20 Years Later and Halloween: Resurrection.
The former picks up the story 20 years after Michael’s killing spree in Haddonfield, 1978.
Laurie is now the head mistress of Hillcrest Academy, a boarding school where her son, John resides.
We learn that she faked her own death in a car accident, a knowing nod to comments made in Halloween 4: The Return of Michael Myers.
However, despite the original story treatment involving mention of Laurie’s daughter, Jamie, the writers removed any mention of her in the final treatment, thus rendering parts 4, 5, and 6 as obsolete and not part of the official canon.
A move that would scorn the wrath of certain hardcore fans of the franchise. Apparently this was to allow more room for Laurie’s character to breathe on screen.
The majority of the movie takes place in said school as Myers goes in search of his blood-kind, killing off a couple of teenagers along the way.
Resurrection became something of a mess, which not only sore the demise of a much-loved character, but arguably saw the destruction of the franchise too.
Looking at the film at its lack of success, one can’t but feel inclined to look a the director, Rick Rosenthal, whose film credits seem a little lacklustre, but is he solely to blame?
Another musician would step into the fray for Resurrection to try and draw some interest from the youth, Busta Rhymes and and an unforgettable cast alongside him, Bianca Kajilich, Sean Patrick Thomas (Save The Last Dance, Cruel Intentions, and Dracula 2000), Thomas Ian Nicholas (Kevin Myers in American Pie, and child star in Rookie of the Year) and notably Katee Sackhoff (Starbuck in the new Battlestar Gallactica, Longmire, and Occulus)
So, what do the Surgeons make of the these instalments to the franchise?
Click on the podcast below to find out.