I’ve enjoyed rewatching this Jamie Lloyd trilogy of HALLOWEEN sequels. I never liked them, hadn’t watched them enough to remember them very well, but they look better on Blu-Ray and this is the most I’ve ever enjoyed parts RETURN and REVENGE.
CURSE, though, is a tough one. This is just not a good movie. But worth discussing anyway.
It starts unlike any HALLOWEEN movie. A young woman is about to give birth. There’s a medical staff pushing her on a bed down long hallways, beneath pipes, into some kind of boiler room type area, and eventually what doesn’t even look like a hospital. Now they’re in some place lit by candles and wall torches like the arena in BLOODSPORT, and she does not seem to be having her health care choices respected. This is actually supposed to be Michael’s niece Jamie Lloyd, but she’s now played by decent lookalike J.C. Brandy (WHAT LIES BENEATH). (read the rest of this shit…)
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. 
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 
