Tag Archives: David Gordon Green


Three and a half Star Rating

“In many respects Green’s film is, to an extent, something of a loose re-imagining of Carpenter’s 1978 original.” – Wayward Wolf.

An introductory preamble preceded the 40th anniversary screening of Halloween (1978) in which legendary director, John Carpenter, made a particularly interesting point. Back in 1978 the world was not blessed with anything like the number of multi-screen cineplexes that we have become so used to today, and as a consequence most people would more than likely have viewed what was essentially a low budget, limited release ‘B’ Movie, on video, be that a legitimate or pirate copy.

And as with all things that are somewhat restricted from mass public consumption, an aura of mystery soon unavoidably built up around the film.

It wouldn’t be until the mid-1980’s that I would personally get to experience Carpenter’s seminal slasher classic, and like many before me, I too viewed this through the medium of VHS video cassette. I forget which friend’s house I watched it at, but I certainly remember the impact it had upon me.

Forward wind then if you will to 2018 and a rare opportunity to experience the birth of the whole Michael Myers phenomenon on the big screen.

For all of Carpenter’s gushing over his preferred medium of widescreen, the wonders of Panavision and an insistence that this was a movie that was absolutely made for the big screen, one cannot help but be struck by the frailties of his movie, exposed – at times cruelly – by the vastness of the big screen experience, not to mention the high-end, super-revealing Dolby surround sound system which highlights the unpolished rawness of Carpenter’s brilliant synthesized soundtrack. Audio technology has certainly taken large strides since then – although not always for the good, it is true.

That said, Halloween (1978), for all of its faults, and suspending our disbelief accordingly, retains much of the magic and menace that scared people witless on its release some forty years ago. Though hindered to some extent by a low budget, this also worked to its advantage in many respects. Without recourse to the funds or the CGi trickery that’s so prevalent and relied upon today, a lower budget would have equated directly to a lower head count when it came to casting, and the film’s general sparsity of actors and extras went a long way towards creating those eerie daylight scenes in and around the almost abandoned, windy Autumnal streets of Haddonfield, which, punctuated with the intermittent statuesque sightings of the boiler suit and mask-clad Michael Myers, were in many ways as big a contributory factor in creating just the right sort of sinister mood, as any of the latter night scenes of knife-wielding carnage.

With the notable exception of Halloween III (Season of the Witch) – a film rather unfairly maligned at the time for daring to abandon the whole Michael Myers narrative, but a film which I’ve admittedly always had a soft spot for – you’re on pretty firm footing to suggest that the atmosphere of Carpenter’s original has never been bettered or even matched since in the seven ‘sequels’ that have followed.

Which brings us on nicely to sequel number eight; David Gordon Green’s 2018 offering, the confusingly titled, Halloween.

In many respects, Green’s film is, to an extent, something of a loose re-imagining of Carpenter’s 1978 original. Indeed the film is absolutely teeming with similarities. Scenes from the ’78 movie are frequently and playfully revisited, often inverted or manipulated in some way so as to cleverly fit the 2018 narrative. It’s this tipping of the hat acknowledgement tactic that will no doubt please the die-hard Halloween fan base, and it undoubtedly helps to effectively bring the franchise back full circle to the true roots of its initial success. This, one suspects, has been a wholly deliberate ploy and would help to explain the apparent lack of imagination or should that be brilliance? – I’m undecided – of David Gordon Green’s film title.

Of course, bar a complete change of tack, there really is only so much that can be done to inject new life into an old and weary franchise, but the casting of Jamie Lee Curtis – revisiting her role as Laurie Strode – proves to be something of a masterstroke. Far from being just a token reappearance, the Halloween (2018) narrative is built strongly around her character’s damaged persona. As a direct consequence of her inability to ‘move on’ from the traumatic events of her past, Laurie has suffered two failed marriages and has a daughter resentful of the fact that her mother’s life and her own, have been so totally dominated for so long by the invisible spectre of Michael Myers. What should have been an upbringing of love and carefree happiness has been one of nothing but worry and foreboding.

Their relationship and Laurie’s all consuming infatuation with her past assailant, gives Green’s film some much needed substance and transforms a straight forward slasher movie into something a little more weighty.

Of course, this is a Halloween flick, and accordingly any number of fairly nondescript characters are dispatched as the fodder for Myers’ killing spree, helping to contribute to a very generous body count in the process. But gone are the fairly laboured fumblings that characterised Michael Myers’ murders of yesteryear. Instead, his victims are now dispatched efficiently and in brutal fashion. Time, if nothing else, appears to have honed Myers’ execution skills!

Accompanying the action is John Carpenter and his son, Cody’s update on the original Halloween (1978) soundtrack, embellishing the film’s famous piano / ticking main theme and sonic stabs here and there with a few new motifs and suspenseful synth pads. They’re good and they serve their purpose, but they’re nothing of the quality of John Carpenter’s majestic unnerving original score.

Whilst Halloween (2018) is in some ways guilty of milking the ’78 concept to a degree, it does so respectfully and tastefully, and more than this, it points us back in time in the direction of Carpenter’s original film, creating a fairly convincing bond between the pair in the process; crucially, lending Green’s film a certain gravitas that has been so sorely absent from previous sequels within the long running series.

Halloween (2018) may well be a film guilty to some extent of both sizeable plot holes and unlikely coincidences a-plenty, but we must of course consider one important fact here: The boogeyman. I’d suggest therefore that any such criticisms or incredulity really don’t apply in the circumstances.

The important conclusion is this: Halloween (2018) may well lack originality, but in all of its widescreen cinematic glory, it proves to be a slick, brutal, well realised, and above everything else worthy successor to Carpenter’s timeless late ’70’s classic.

And being the huge Halloween (1978) fan that I am, it’s as much a relief as anything to be able to tell you that.







“…Tatiana Maslany’s depiction of Erin Hurley is one of genuine sentiment and a warm almost tangible sense of goodness.”

Wayward Wolf.

In many ways, Stronger is one of those ten-a-penny ‘triumph over adversity’ films that have been such a mainstay of cinema over the years.

However, what separates David Gordon Green’s tale from most are the superbly powerful performances of the film’s principal characters.

Owing to Jeff Bauman’s erratic nature and inability to turn up when he’s meant to, his relationship with Erin Hurley is something of an on and off affair. At the time in which Erin is due to run the Boston Marathon, their relationship is firmly in the off position, yet Jeff is clearly still obsessed with ‘his’ girl-next-door, Erin, and in a chance meeting at their local bar, Jeff, in a grand gesture aimed at winning her back, not only encourages the bar’s many patrons to sponsor Erin, but vows himself to cheer her on at the finish line.

Home-made banner in hand, for once Jeff just about sticks to his word, but it’s a decision that will dramatically change his life forever as he falls victim to the cowardly bombings of April 2013.

Surrounded by many well-meaning friends and family, in theory Jeff has the support network in place to help him overcome his disability. But with his alcoholic mother and good-time friends’ better judgement so frequently blighted by the bottle – not to mention having to live in a tiny room in his mother’s pokey apartment that is entirely unsuitable for the needs of a a disabled person – it soon becomes apparent that if Jeff is going to have any chance of coming to terms and indeed being at peace with his now drastically changed existence, it’s going to have to be down to him.

If it weren’t for Erin, that is.

Erin, a girl so sweet and caring, will prove over time to be an absolute rock of dependability, ensuring that Jeff’s road to some form of recovery may not be quite so fraught with problems after all.

Little is made of the actual bombings themselves in Green’s film, with only a hint of politicising events or finger pointing at suspects. Instead, the focus turns to Bauman’s psychological struggles in coming to terms not only with his disability, but with the expectation of a city positively tripping over itself to laud him as being some kind of hero, to be wheeled out in public at every given opportunity.

“Boston Strong” is the mantra of the city’s people as its population closes ranks and comes together in the face of adversity.

But Jeff’s life fast descends into a circus of celebrity revolving around rather anodyne acts of flag waving at Bruins matches or tossing first pitches at Red Sox games, not to mention a proposed visit to Jeff’s home from the TV Queen of all-American sentiment, Oprah Winfrey.

It’s understandably all too much.

The one ray of light throughout though is the wonderful Erin. But Jeff’s innate unreliable nature combined with the psychological scarring of recent events threatens to undermine everything good that this girl undoubtedly brings into his life.

Stronger boasts decent support performances most notably from Miranda Richardson who is a good piece of casting as Jeff’s well-meaning but troubled alcoholic mother, Patty, but it is the film’s leading pair who predictably steal the show.

Jake Gyllenhaal is tremendously visceral in his portrayal of Jeff Bauman whilst Tatiana Maslany’s depiction of Erin Hurley is one of genuine sentiment and a warm almost tangible sense of goodness. Together the couple demonstrate the most solidly believable on-screen chemistry as they attempt to navigate their way through the most harrowing scenes of tension and heartbreak.

Just how much of David Gordon Green’s film has been embellished for cinematic purposes only Jeff and Erin themselves will know, but as a cinematic spectacle, Stronger stands alone well as an engaging, thought-provoking film absolutely brought alive by way of some truly memorable performances.