From his stirring art-film debut, “George Washington,” to slapdash comedies like “The Sitter,” Green has enjoyed one of the strangest careers ever to straddle the Hollywood/indie divide. In “Halloween,” another sharp left turn, he and his cinematographer, Michael Simmonds, demonstrate a solid, efficient grasp of the mechanics of terror, expertly reproducing Carpenter’s horror syntax by shooting the murderous Michael (Myers, not Simmonds) in smooth, serpentine long takes. But the kills come faster this time; the body count is through the roof. After four decades behind bars, Michael clearly has some catching up to do. He still likes to play hide-and-seek with his prey and the audience — note the terribly ingenious use he makes of a motion-sensor-activated light — but he might not count as high as 10 this time.

Source: Los Angeles Times October 15, 2018 21:56 UTC