Trauma Lee Curtis 
Very well said 
Another leak from someone who just saw a screening which basically aligns with the previous leak:
I forgot to add this to my comment
https://www.youtube.com/watch?v=JlqhD0lnols
Some leaked info:
https://i.redd.it/1c6bwyv18se91.jpg
*Trouwma.
That sounds god awful
That sounds god awful
That sounds absolutely terrible actually
“Oh this is the big one! Elizabeth! I’m comin’ to join you honey. With a masked dummy unassembled behind me!”
Good grief. This could be a cringefest of epic proportions.
So they basically turned Michael into Frank from Hellraiser.
Green, Blum, and especially JLC see these movies as their “activism.” Narrative integrity and what fans want aren’t even secondary concerns to them. It’s all about messaging.
I say this often and almost always get “Halloween 78 was a feminist movie” or “all horror is messaging.”
There’s a HUGE difference between subtext and metaphor (JC’s Halloween) and overt messaging. That’s what these films are and what most modern films (including horror) are these days.
Carpenter was telling a story about the inescapable and omnipresent nature of Evil. It’s not just in Eastern European castles or evil scientist’s labs or Egyptian tombs. It lives next door, it lives in your home and lives in you. Michael Myers was a normal six year old who was apparently out by himself on Halloween night (we see him crossing the street back to his house) who returns home and kills his teenage sister. No history of mental illness or abuse, no supernatural experiences save the fact that it’s Halloween night. The night the veil between worlds is parted, the night the dead walk among the living. It’s left to our imaginations how (if at all) Halloween played a role in what happened to Michael Myers.
That’s subtext and metaphor. Evil wears the mask of humanity, the familiar face of normalcy, the face of the kid next door. Carpenter said one influence on Halloween was a man he knew in his home town who was kind and polite in public but who said horribly racist things in private. You’d never know that from the film because it’s a legend used to impart a universal lesson on human nature.
If Halloween is to succeed, I believe it should become an anthology that focuses on the notion that anything is possible on Halloween night. It should also explore the idea that maybe other normal people suddenly became murderers on Halloween. Charlie Bowles is a suggestion of this.
Have a “final” showdown between Michael and Laurie, then let Myers rest for a while. Make the series an anthology with occasional connective tissue to the idea of The Shape. Then, after a number of years, bring Michael back.
None of this will happen because Hollywood is all about the “safe,” corporate approach. They’ll just do another reboot until the series dies for another decade or so.
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I agree with basically everything you said. The only thing I don’t want is for the series to rest a while. The wait between H20 and HR felt long. The wait between HR and RZH felt even more unbearable. Then the wait between RZH2 and H’18 was torture. I want the next movie (by a new studio) to come out no later than 2025, with an H50 in 2028. And then a new movie every 2-4 years after that. Making Michael great again isn’t about how long we have to wait between films or letting things rest. It’s about finding the right story and right storyteller.
I hope the Duffer brothers get a chance.
Bank there will be a H50. Why do you think Akkad is already asking fans what they want? He’s trying to get it ready. The franchise has always had a movie on anniversary dates. That’s six years from now so its a good rest between projects. Plus it will give the public time to get this bad taste out of their mouths. I have a feeling this last film is going to be the worst performing of the three. People will be ready for a new approach for H50. Since they’ve been doing reboots inside these timelines, I think it would be a good opportunity to do a better follow up to Halloween 4. Let the characters of Rachel and Jamie come back to face Michael after that night back in 1988. Its really the last place to take established stars in the series and retool their characters.
If this is true, it is exactly what was expected. Scary man getting his but kicked soundly by modern women.
It potentially also means officer Hawkins’ story ark is pointless, since there is no mention of him helping in any meaningful way. If Hawkins is in the movie, a sound prediction is that he makes all the wrong choices while Laurie and/or Allison make all the right ones.
I would be all for a direct sequel to H4, but ONLY if Dwight H. Little returns to direct and Alan. B. McElroy returns to write. It’s gotta be them continuing/finishing what they started. If we get someone else who comes in randomly to do it with no input from them, it’ll almost certainly be little more than a shitty fanfic and won’t reach its full potential.(like Terminator 3, T:S, Gynysys, Dark Fart /H’18, HK – each of which felt like another random fanfic. Nothing felt legit). I’d rather just get a completely new story if they refuse to bring back Little & McElroy.
Yikes, recently heard that one of the test audiences had a standing ovation at the ending and remembered that something similar happened for Halloween H:20 so I came here to see if there were any spoilers and if what was posted is what they are going with, that’s a damn shame but I’m not surprised. I mean H:40 was essentially an H:20 re-tread, with some Rob Zombie style violence and alternate concepts and Kills carried that on (but had more RZ style odd concepts and un-disciplined scripting and less of the H:20 stuff), but Ends (if this is accurate) seems to be going further into the H:20 aspects with some RZH2 style “Is this really a Halloween movie” stuff. I don’t know why Jamie Lee would want to make the same movie again that she did 20+ years ago and just extend it over three movies.
I would not want to see more legacy Halloween films relying on classic characters (like Jamie and Rachael). I just want to see them truly go back to basics and make a simple horror film that relies on atmosphere and has enough plot and background lore to drive it but not rely on plot; the original was such a simple film (heck the first and usually best entries in all the big franchises were most often cheap, simple films), nothing after it has been like that except maybe part IV. I want to see a movie about the boogeyman, an urban legend+serial killer/spree killer/mass murderer who’s shadow still casts over a town/area where it’s a combination of the feel of a serial killer and something supernatural. When you’re reading about a long dead or long imprisoned serial killer you often feel that evil still permeating even after the killings have ended, if they happened in your town or area that name still carries a boogeyman type presence.
There was a serial killer in my town when I was a child, some of the killings took place right across from where my grandmother lived and the killer lived right there too, and oddly enough he was a pre-teen and young teen kid when he committed them (and then in the past ten years there was another murder in a park just a couple of streets away that had an unknown killer until it was recently solved, and back in the first half of the 20th century an insane asylum was housed on the park grounds, the cemetery for it with nameless grave markings still exists to this day). The name of the killer may not be on the minds of people like they once were, but when it’s brought up people get a dark feeling. It’s not like in H:40 or H:20 where the name becomes the butt of jokes and kids don’t take it seriously. It’s the same with urban or rural legends of hauntings and weird unexplained happenings and such. I feel (especially after the ending of the original Halloween) that The Shape/Michael should basically have a shadow and presence that combines that of the legend of a real serial/spree killer/mass murderer with that of an urban/rural legend of the supernatural and unexplained. None of the sequels have really dialed into this aspect like how I would want them to/how it would be most effective. Halloweens 4 and 6 have used it to an extent but didn’t really utilize things fully (I mean how did Brady never hear of Michael Myers, 6 tried a bit harder, but the Thorn and cult stuff really bogged it down); in H:20 a really weakened aspect was centered mainly around Laurie and only really as a past trauma of an event that she was in, not really caring so much about The Shape as a creepy legend; Resurrection mainly used it as a product to be consumed and the movie was too campy to take seriously; H:40 did not really take it seriously enough and saw the legend as something minor plus an H:20 Laurie re-tread, and Kills was just ridiculous and campy. No entry since the original has really tried to let the viewer’s imagination do a lot of the work.
John Carpenter has talked about (in reference to H1) that one house or place every neighborhood or town has that every kid knows about and is spooked of (the Lonnie at the Myers house at night scene really displays what Carpenter was talking about), that there are all sorts of stories about, the movie should be centered around that type of feeling, it doesn’t need some complicated plot, just continue on the legacy of what the original Halloween was based upon (which is not Laurie Strode- she just happened to be there, or the Myers family). The Shape was never meant to be a character in the traditional sense, he was like his mask- which was blank and pale with the features of a man but with hollow, black, soulless eyes). Like the cold, dark, eerie unknown, like evil, The Shape should always be there, always exist, you may divert it, you may slow it down, but you’ll never stop it. Endings like H:20 or this possible Kills ending, are just feel good character redemption moments that are the exact opposite of what I just mentioned, they are the opposite of John Carpenter’s intentions for Halloween, or in fact the endings of all of his horror films (none of which have an ending where the good guys truly win/can rest as the evil is or may still be out there, and that exists in a form in real life with the urban and rural legends that have existed for hundreds of years, we still are haunted by Jack the Ripper, Vlad Dracula still creeps people out, and then you can include stories of ghosts or hauntings from long ago events where it’s supposedly not just psychological; The Shape should be like that but in an actual entity, I just want them not to go full “oh he’s just some human” nor “oh he’s a supernatural creature like the Insidious and Conjuring series’”, you have to have it feel both real and unreal in a way where both aspects are effective.
JLC just needs money and a platform for her feminist/activist bollocks really, she cares only about that and talking about “Trauma” Her career started from the first film which was that, and guess what? it’s great, but nowadays, it’s hilarious