Rob Zombie's Halloween II

It's been a year since Michael Myers attacked Laurie Strode, her friends and family in Haddonfield, and the killer, motivated by the mental manifested menacing mother that committed suicide when he was a child(..also we see the image of Michael as a wee little lass), returns to finish what he started. Loomis, an egomaniacal greedy toad in tailored suits, is on the touring circuit promoting his new book which reveals the identities of Laurie, Sheriff Brackett and his daughter Annie. Laurie is having recurring nightmares of her brother(..including a harrowing "hospital visit")and is pretty much an emotional wreck, attempting to embark on a whole new life for herself, tattooed with a more grunge appearance, living with Annie and Sheriff Brackett, befriending 'goth girls' she works with at a pop culture store. Loomis decides to return to Haddonfield for extra "sizzle"("Bad taste is the petrol that drives the American Dream")regarding his book, and this decision will cost him dearly as he will intend to right the wrongs caused by his greed. Meanwhile, Michael will butcher and dismantle practically anyone within his path, leaving quite a body count after all is said and done.

Rob Zombie decides to further explore psychological territory(..the "method behind Michael's madness")showing how Michael is influenced by his mother(..Sheri Moon Zombie looking like Otis Driftwood, circa House of 1000 Corpses, in a long white dress)and this white horse she's often leading around. We also see the young Michael(..portrayed by Chase Wright Vanek, in a bad decision by the filmmakers in replacing a far superior Daeg Faerch)with mother as the film continues. Scout Taylor-Compton is dressed down from the suburban image from the other film and is mostly presented in a frantic state of either terror or this quivering mess of bad nerves. Loomis, in this film, has evolved into a contemptible character, seeking glory and fame, oblivious to the destructive nature his tell-all book will cause those within it. He's seen often clashing with his agent over what to say during his many conferences and forums discussing his novel. Brad Dourif(..whose performance is the real bright spot of the film)thankfully returns as Sheriff Brackett as does Danielle Harris as his daughter Annie. Harris, given yet another underwritten role, does impress, I felt, doing what she could with what little is given her.

Tyler Mane proves again to be a damned scary Michael Myers, and his menace is ratcheted up even further. When he attacks somebody, it has an extra ferocity and Michael, when he stabs a victim, repeatedly buries his knife into torsos with an absolute vengeance(..this time, Michael even grunts as he slams that blade into bodies, seeming to stop, only to continue some more). Not only does Michael stab folks, but he often bashes a face in with his boot heel, pummels a stripper into a mirror, throws a victim through his car's windshield, breaks a club owner's arm(..with a bone protruding), strangles a girl, sticks a hunter to the deer antlers attached to his truck, and other delightfully bloody carnage.

The opening surgery of Laurie is pretty grisly as is the many aftermath shots of damaged bodies once Michael gets through with victims. The style used in shooting the action and characters doesn't change, the camera moves in that documentarian style that has been a fixture of his since The Devil's Rejects. There are these loud sound effects that Zombie uses to add impact to Michael's vicious agenda towards destroying his chosen targets. Almost no one is safe once they enter his tragectory. There are lots of visual treats for music and horror buffs such as an Alice Cooper poster on Laurie's wall, The Moody Blues Nights in White Satin tune playing on television during the hospital sequence, all kinds of homages during the Halloween Party sequence with those in attendance wearing various costumes, some cameos including Caroline Williams(Texas Chainsaw Massacre 2)as a doctor, Margot Kidder as a psychiatrist, Howard Hesseman(WKRP in Cincinnati) as the owner of the store where Laurie works, and Weird Al Yankovic(..as a guest on a talk show who rattles Loomis' cage a bit). Daniel Roebuck has the "funny scuzzball" role this time around, as a strip joint owner who enjoys his Red Rabbit success, basking in a commercial where he's donning a Frankenstein costume(..Rob was able to get the movie in there, even providing Roebuck with the line "jolly green giant" in regards to his dick before hoping to bang an employee), as "Big Lou", and his fate isn't pretty.

I was indifferent(..to put it mildly)towards the whole "mother / young Michael" psychological angle, although, conceptually, I admired Rob's desire for something original and unusual in regards to what fuels Michael's rampage. But, I didn't like the kid so everytime I saw him, it annoyed me and after about two times, I wished no longer to see Sheri Moon either. Yet, they keep returning time and again..

In regards to Zombie's way of shooting, I'm not one of those who cries out in anger at establishing shots where we may not see all the action within the frame. RZ has mentioned how he doesn't wish to dwell on lingering violence, framing gratuitous displays of knife penetrating flesh. Sound effects do that for him, with us instead viewing Michael's handiwork.
As far as "eye candy", I love these evocative uses of light beaming through branches and trees as Laurie moves through the wilderness after watching a beloved gal pal give up the ghost, with Michael in hot pursuit. And, there are plenty of asthetically pleasing shots of an ominous Myers from afar(..and up close)effectively capturing Tyler Bates massive frame. Also, Zombie uses a technique where an attack on certain females is shot to no music, just Myers breathing and the piercing sound of his knife slicing. Lots of blood, too. The more, the merrier as far as I'm concerned...never can have too much blood.

While, I can't say I was blown away by this sequel, slasher fans might enjoy the plethora of violence on display. I wasn't keen on Compton costumed in her goth uniform..to me she remains a suburban teen playing dress up, and her ascension into madness, through the angle of Mother and Michael wishing to recruit her officially into the family, didn't exactly win me over(..not that Zombie has to)either. I was amused at the ways Zombie uses fuck. Laurie can't get enough of the word, and there's even an eye chart on her wall with it on display. Even a sticker on her mirror(Wake the fuck up). Every character gets a crack at the word, making it their own. Prepare for plenty of Zombie trash humor(..such as the necro-sex convo between paramedics transporting Michael to county jail, hitting a cow which allows their prisoner a chance to escape)..it wouldn't be a RZ film without it.

As you might've read elsewhere, nothing of Carpenter's film remains, this is Zombie's movie all the way. I think it's geared towards a new generation / audience, which means those who admire JC's film might resist this one. One thing I believe is certain, Tyler Mane was a great casting decision and his Michael Myers is a real menacing figure. This is a dark, dark film.

Besides the psychological angles occuring in Michael and Laurie, the film is very much a slasher in the traditional sense. Saying that, I'm truly happy Zombie provided Dourif with a meatier role in this film, and Zombie was able, for better or worse, provide the Laurie character with more to do than she had in the previous movie.