Halloween: The Curse of Michael Myers (1995)

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Director Joe Chappelle’s crack at Michael Myers is not only very forgettable, but with Miramax running the show, this new installment of the series feels different. Where in the first two films felt stark and filled with urgency, while parts four and five retained some of that energy, “The Curse of Michael Myers” feels dreary.

I don’t know if it’s intentional or not, but everything about the film feels as if Chappelle filmed it on low battery power with his camera on a dim lens. It’s almost as if he dimmed the entire movie to create some facade of atmosphere, when in reality it makes the movie feel like poor direct to video fare. This is where Michael is out of reach from the mainstream and comes close to being reduced to the video store boogeyman. This whole film feels like one giant after thought once Jamie Lloyd has left the picture. Really, what is left for Michael to do in Haddonfield now that he’s murdered Jamie Lloyd? Oh right, her baby is out there.

Michael will do anything to clear his bloodline. He might even kill a parrot that belonged to his great aunt just to be safe. Not just that, but back in Haddonfield, family related to the Strodes have just been told they’re living in Michael Myers’ old house. Kara Strode lives with her family and her young son, along with a dysfunctional family element that sets up the premise that the psychotic gene lies dormant in every Myers family bloodline. But that bit of plot element is never quite explored later on. Paul Rudd in his only horror film, stars as an older Tommy Doyle who is obsessed with the Michael Myers legend, as well as the mark of Thorn. Michael is now something of a pop icon for Haddonfield who is the center of the local Halloween festivities, and Michael has returned to shed some blood.

Like part five, “The Curse of Michael Myers” only introduces supporting characters that we know are just cannon fodder for Michael and nothing more. Meanwhile the writers add an actual series of protagonists this time around, with Rudd as Tommy working with Kara Strode to save Jamie’s baby and her young son from the cult that wants to continue Michael’s cycle as a deity of a sorts and instill his evil in to the children. “The Curse of Michael Myers” is a film bereft or surprises, or even suspense, and seems to get off on creating vicious murders to compensate for lack of genuine terror. It’s never indicated why Michael slaughters the cult during their surgery in the finale. Is Michael ending the Thorn curse, or is he just being crazy killer Michael?

To boot, all of the characters are boring and lack any complexities, and that’s indicative of a movie that seems to just be going through the motions. Plus with Danielle Harris gone, and Jamie Lloyd killed off in the first fifteen minutes, the movie has to scramble to build interesting characters and doesn’t quite succeed. Paul Rudd only seems to try his hand as the mentally unbalanced Tommy Doyle who poses a serious challenge to Michael. There’s even a fun callback to the first film where Tommy tries to break Kara free from a room as Michael slowly approaches down a hall. “The Curse of Michael Myers” doesn’t know how to handle any of its characters, and it shows with the use of Loomis who is barely a hero this time around and–due to Pleasance’s death–ends his storyline on an abrupt but poetic note. “The Curse of Michael Myers” is one of the last nails in Michael Myers’ coffin, unfortunately.