By HALLOWEEN 5: THE REVENGE OF MICHAEL MYERS, it is clear that we’ve fully transitioned into HALLOWEEN, an ongoing series from producer Moustapha Akkad, as opposed to the creation of John Carpenter. We still have Carpenter’s characters of Michael Myers and Dr. Loomis, but we’ve forgotten all about Laurie and moved on to the story of her daughter Jamie (who it’s hard to associate with Laurie, since we never saw them together). This one is much less of a rehash of the original than part 4, and it digs into the series tradition of really fuckin stretchin it in getting themselves out of the corner they painted themselves into last time. They actually went into production before part 4 came out so they could have it done the next year, yet it seems like separate people trying to figure out how the fuck to follow up a part 4 ending they had no control over. That gives it kind of an adventure serial cliffhanger type of feel, I guess. How will The Shape get out of this mess? Find out next time!
In part 4 they had to undo Loomis (Donald Pleasance) having blown himself and Michael sky high in part 2. They handled that by just having both of them alive but burnt. This time they have to undo part 4’s ending, where Michael was shot to death by cops and collapsed into an abandoned mine, but his evil spirit and/or curse was passed on to his little niece Jamie Lloyd, and she stabbed her step mom in the tradition of little Michael killing his sister in the opening of part 1. (read the rest of this shit…)
These days we got that thing of the remaquel, where they try to get an old series going again with new characters but they’re kinda just tracing over the first movie, because they know we’d get scared and cry if we had to accept something new that we weren’t already comfortable with from having seen it a bunch of times before. That seems kinda natural in a pop culture landscape where people demand regurgitations of their favorite “properties” and even the “new” things they like pay fetishistic tribute to old movies through retro style and nostalgic references. But it’s not a new trick.
In the late ’80s there was a mini-slasher-subgenre about killers who continue their careers post-execution, including PRISON (1987), THE HORROR SHOW (1989), 
MULBERRY STREET is a low budget horror indie with a completely unique feel. It’s basically another zombie outbreak movie, but none of it takes place on farms, in fields, on country roads, in abandoned factories or military bases. No, it takes place right in the middle of Manhattan, focusing on the diverse residents of one small apartment building. This particular zombie problem disproportionately affects the poor because the infection comes from rats. People get bit and then they act weird and sometimes they start to grow hair on the top of their ears, and their teeth, uh…
THE TOWN THAT DREADED SUNDOWN (2014) is not exactly a remake of the cult classic, and not exactly a sequel. It starts with a narrated montage about the real life 1946 unsolved murder spree and the filming of 
“Your father is one sick mother, you know that? Actually, your mother’s one sick mother too.”
The cover of THE MIND’S EYE quotes a Film School Rejects review saying “The best 
