Pop culture obsessives writing for the pop culture obsessed.
Pop culture obsessives writing for the pop culture obsessed.

Halloween: Resurrection

Neither as creative as the Nightmare On Elm Street films nor as disreputable as the Friday The 13th series, the Halloween franchise has coasted for decades on the strength of a memorable killer (masked slasher Michael Myers), eerie theme music, and the 1978 original's deserved reputation as a masterpiece of pure craft. In 1998, Halloween H20 was hyped as a more upscale thriller in the Scream mold, but in spite of Jamie Lee Curtis' return and a much-ballyhooed but curiously uncredited script-doctoring by Kevin Williamson, the film was little more than a listless genre exercise. In Halloween: Resurrection, Curtis again returnsnow catatonic and institutionalized—and sticks around just long enough for a pair of exposition-happy nurses to explain how she killed the wrong person at the end of H20, thereby allowing Myers to escape. After dying a death better suited to a Leprechaun In The Hood extra than a proper horror-movie icon, Curtis exits the film, which promptly shifts its focus to cyber-entrepreneur Busta Rhymes' plans to broadcast an online show featuring six oversexed teens spending a night in Myers' boyhood home. Needless to say, Rhymes' cyber-venture is even less successful than most. Soon, the blood flows freely while cyber-gawkers ponder whether the violence is real or just part of the show. Directed by Rick Rosenthal (Halloween II), Resurrection contains a few already-dated swipes at media opportunism borrowed from the conceptually intriguing but similarly awful Book Of Shadows: Blair Witch Project 2. Otherwise, it seems content to plod listlessly through the motions. Rhymes looks like he's having a great time playing a hip-hop, cyber-age William Castle, and his enjoyment is infectious. But otherwise, the cast consists mostly of anonymous, interchangeable teenage slasher-bait. Ironically, one of the film's pimply heroes spends much of the film dressed as John Travolta in Pulp Fiction, providing a quaint reminder of a time when the Weinstein brothers (who co-executive-produced Resurrection) helped finance the occasional masterpiece in addition to heaps of trash.


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