Rob Zombie, in my estimation, has made one truly good film, maybe even a great film.  That movie is The Devil's Rejects, a disturbingly funny look at the "crazies on the lam" subgenre, crackling with energy and filled with memorable performances.  Zombie shifted to remake mode and tackled John Carpenter's seminal horror film Halloween in 2007, which divided genre fans.  Some believed that no one should presume to remake such an iconic film, some dug it, and some, like myself, felt as though the film suffered from a bit of an identity crisis, unsure of what it truly wanted to be: slasher or psychological terror.  Zombie's follow-up, Halloween II doesn't fall into that same trap.  It has all-new issues to overcome.

The movie begins immediately following the events of the first film as Laurie Strode (Scout Taylor-Compton) is found walking the streets with a gun in her hand and all sorts of messed-up.  Sheriff Lee Brackett (Brad Dourif) finds the girl, and the crime scene left by the original movie, and begins collecting bodies and sending survivors to the hospital.  In the corpse wagon, Michael Myers, presumed dead, unsurprisingly wakes up and... well, you know the rest.  He finds his way to the hospital for a tense opening that echoes Carpenter's sequel, but the similarities end there.  

Laurie and her pal Annie are survivors, but Laurie isn't handling things well.  She's heavily medicated, susceptible to some pretty freaky nightmares, and isn't doing so hot with her therapy, either.  Conversely, Dr. Sam Loomis (Malcolm McDowell) has finished a book on the subject of Myers and his rampage, hitting bookshelves on Halloween a year later.  He returns to Haddonfield to capitalize on his success, despite everyone around him telling him just how distasteful his book is.  

rampage, hitting bookshelves on Halloween a year later.  He returns to Haddonfield to capitalize on his success, despite everyone around him telling him just how distasteful his book is.  

Of course, Michael isn't dead, he's just roaming the countryside, having adventures.  Like when some rednecks give him what fer and Michael shows them the business end of a knife.  Then, he eats their dog.  Back at the ranch, Laurie gets sick simultaneously, establishing a psychic link between the two.  Laurie's even picking up on Michael's visions of his mother, a white-clad Sheri Moon Zombie, and young Michael in tow.

As you would expect, the eventual bloodbath comes to Haddonfield on Halloween, and all the key players from the original, and a few redshirts introduced in this film, make friendswith knives and mirrors up close and personal.

I do not, as a rule, appreciate the snarky review, believing that it is all too often a way for the reviewer to insert themselves needlessly into discussion of a film, but it's hard to keep an amiable tone here.  I hated this film.  Hated it.  If I had my quibbles with Zombie's first go at the Myers lore, that seems like a pleasant dream, now.  Let's get started, shall we?

amiable tone here.  I hated this film.  Hated it.  If I had my quibbles with Zombie's first go at the Myers lore, that seems like a pleasant dream, now.  Let's get started, shall we?

Hold the camera still, please.  Enough with the POV shots where I can't tell what the hell is happening on screen.  And, while we're at it, let's lay off the close-ups of every character, which may, theoretically, create a sense of intimacy between audience and scene, but, in this case, I didn't want to be too close to these characters for fear of infection.  I'll get to them.  The herky-jerky camera is off-putting enough without the manic editing to go along with it.  And, when the camera is held still, it's usually during some overwrought moment where Mama Myers stands in front of bright lights while Michael stares on.  I generally appreciate Zombie's aesthetic, but not this time.

Where was I?  Characters, right.  Thanks for reminding me.  What's with Laurie's mood swings?  One minute she's terrified, the next (this is literally the same scene) she's ready to go to a party.  Or Michael's total lack of discretion when killing.  If we're to assume some sort of psychological motivation to reassemble his family is driving Mr. Myers onward, why all the pit stops to kill random folk?  Why show up at a party (where Laurie is partying!), then leave?  To pad the film?  Oh, and Zombie isn't doing his actors any favors when he puts lines like "She thinks she's too coolio for schoolio" in their mouths.  If I found myself at a party with the characters inhabiting this film, I would leap out a window and hurry to the nearest shower to get their stink off of me.

By the end, I was so far past caring, even the resolution, which you'll see coming from the ticket line, couldn't fuel my distaste for this film any further.  I kept thinking of storytelling basics - whose story is being told here?  Laurie's?  Michael's?  Why should I care about either, except they are characters from a 1978 film I dearly love.  This is self-indulgent, sloppy filmmaking and it's frustrating to think that many people will believe this is what passes for a genre film.  The worst studio release of the year.

go to a party.  Or Michael's total lack of discretion when killing.  If we're to assume some sort of psychological motivation to reassemble his family is driving Mr. Myers onward, why all the pit stops to kill random folk?  Why show up at a party (where Laurie is partying!), then leave?  To pad the film?  Oh, and Zombie isn't doing his actors any favors when he puts lines like "She thinks she's too coolio for schoolio" in their mouths.  If I found myself at a party with the characters inhabiting this film, I would leap out a window and hurry to the nearest shower to get their stink off of me.

By the end, I was so far past caring, even the resolution, which you'll see coming from the ticket line, couldn't fuel my distaste for this film any further.  I kept thinking of storytelling basics - whose story is being told here?  Laurie's?  Michael's?  Why should I care about either, except they are characters from a 1978 film I dearly love.  This is self-indulgent, sloppy filmmaking and it's frustrating to think that many people will believe this is what passes for a genre film.  The worst studio release of the year.