Halloween 6: The Curse of Michael Myers (Producer’s Cut)

3 out of 5

Directed by: Joe Chapelle

Waaay overwritten in order to retroactively justify how and why this Michael Myers guy has been stalking his way across six (five) films, when he’s rather definitively died a few times by now, Halloween 6: The Curse of Michael Myers thus doesn’t have very much room to actually operate as a fright flick.  Its kills are pretty straight-forward and quick, and it’s rather talky, with a lot of characters shuffled through for brief moments in the spotlight over 90 minutes.  But I really, really liked that it tried to do all that, and the refocus on playing it straight (as well as some structural nods to the original) helps the movie to feel motivated, despite all of its Druids and whatnot being tossed out by the next flick.  Oh well.

It’s six years after Halloween 5, and we jump right in to filling in what happened to Jamie and Michael between now and then, which gives us enough context on the man in black – who all mysteriously popped up in the previous flick – to understand that Myers, as the embodiment of evil, is somehow tied to some cloak-wearing cult, and now Jamie’s on the run with a baby that’s important for cult related things.  Loomis (Donald Sutherland) is all peaceful and retired until he overhears on a radio show that Myers business is kicking back up in Haddonfield; a new era of Strodes has moved into Mike’s old house, seemingly unawares of its history; and a creepy boy (Paul Rudd!) is stationed across from that house, constantly peeking into it with a telescope, his room plastered with articles on the various Haddonfield Halloween events (including plastered across his ceiling, which seems particularly inconvenient, but kudos to production anyhow).  Daughter Strode’s son – the unclear conception of whom I feel like scripter Daniel Farrands likely had some plans to delve in to, had this story been followed up on in a sequel – becomes the new focus for Michael, and Paul Rudd and Loomis each contribute their own forms of crazy to not actually really help at all, but keep people effectively running in circles for the remainder of the runtime.  It’s quite silly, as usual, and, as mentioned, not especially scary, but there’s still a nice sense of energy fueling the whole thing; a sort of glue-sniffing kookiness that sticks a mythology on top of the Halloween series like it’d always been there.  George P. Wilbur’s Myers is rather lifeless, but unlike in 5, it feels kinda okay here, as Mike shifts to being an agent for the cult, and so it sort of seems “right” for him to be more of a golem type than to have his own motivations.