Strode, whom we see typing out her thoughts a la Carrie Bradshaw, spouts a bunch of psycho-babble about individual responsibility to resist evil, which coming from anyone but Curtis would sound utterly absurd - but her resourceful presence has been the main reason to watch this franchise since her first babysitting gigs in 1978. “So here I am, a survivor attempting to share my story and find healing.” Strode, meanwhile, has bought a new home, is writing a memoir, and is aiming to move on (but not out, at least not out of Haddonfield.) “It’s been four years since I last saw my monster,” she tells us.
#Guardian angel pictures free
Was the horrible event an accident or intentional? When we meet Corey again, he is out free but a shadow of his former self. A few hours after his cheerful arrival, the young boy he's minding is dead and Corey’s being taken away by the authorities. But first, we witness a harrowing prelude in which another babysitter gets into trouble on Halloween night, this time in 2019 - not a girl but a boy, Corey (Rohan Campbell). In case you missed any, there’s a handy recap from Strode herself, as narrator. In any case, nobody can seem to quit Haddonfield, least of all Strode, so it is there, once more, that we begin this third installment of the trilogy by David Gordon Green, which was meant to follow directly from the original, ignoring all the intervening sequels and reboots. And that’s the uneasy feeling we get at the end as we leave Strode, her masked nemesis Michael Myers and the other residents of Haddonfield, Illinois, (a town in which, if we can digress for a second, the real estate values must be in the tank by now given the body count, but somehow people stay?) Can we really trust this will finally be it?
Did you want to see more gore and guts, with a disturbingly creative scene involving a record turntable? You’ll get that, too.Īctually, the turntable - can we repeat that this scene is disturbing? - is rather a concerning metaphor here, because it implies something that may slow down but never fully stop. Did you want to see Curtis in one more (we think) badass performance as durable Laurie Strode, whom she's been playing for some 45 years? You’ll get that. As for whether this kitchen-sink approach to narrative resolution will bother you, well, that depends on what you came for.ĭid you want closure in a satisfyingly coherent way? That’s not what you’ll get.
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