Directed by Dwight H. Little
Distributed by Anchor Bay Entertainment
In the years following Michael Myers’ incineration at the hands of Dr. Loomis, other slashers trudged on, undaunted by diminishing returns and the inevitability of franchise fatigue. In those years, Jason Voorhees raked up an impressive body count, appearing in four films – yes, A New Beginning counts – while Michael’s potential smoldered on a Smith’s Grove gurney. Producer Moustapha Akkad was astute enough to recognize the potential in more mayhem and, as such, ordered the resurrection of horror’s greatest boogeyman in 1988.
Since its release, I’ve seen The Return of Michael Myers countless times. I was a little boy of nine when it was released (probably ten by the time I saw it on home video), and my dad was cool enough to rent it for me the day it hit VHS. I watched it, rewound it and watched it again. The next day, I couldn’t wait to get home from school to do the same. Truth be told, I once liked it more than John Carpenter’s original – it’s much more fast-moving, and seeing a little kid as the protagonist certainly helped anchor my own attention back then. So yes, it’s commonplace to be hyperbolic in nature, but when I tell you that I’ve seen Halloween 4 no less than forty/fifty times, please believe me. There are few films I’ve seen more.
I love Halloween 4 so much that it often pains me to see it dismissed as another dumb slasher movie. Yes, it’s undoubtedly a film working within established confines, but director Dwight H. Little crafted what I consider to be the best slasher sequel of all time. From frame one, it’s obvious that Little took a long, hard look at John Carpenter’s Halloween and understood the importance of mood. Here, the atmospheric montage of fall landscapes set to eerie ambient music is all that’s needed to set the tone. He ensures that every exterior is bathed in fall colors: Bright leaves litter yards and roads, accented by October décor. At night, thick fog swirls through the streets – suggesting evil is afoot and possibly around every corner. Little’s movie is literally drenched in Halloween flavor, making this optimal holiday viewing year after year.
That’s not to suggest that Halloween 4 coasts only on atmosphere. It’s actually a rare sequel where everything feels fresh, energetic and … logical. Alan B. McElroy’s script paints Haddonfield in a believable light as a small Midwestern town badly scarred by a horrific killing spree and desperate to forget. The townspeople we meet speak of Michael’s killings in clipped and hushed tones, as if the wound has only begun to heal. Beyond that, these people take action. When the ever-dependable envoy of bad news, Dr. Loomis, shows up, it’s the antithesis of the first two films in that everybody heeds his warnings for once! The locals form a lynch mob, and the new Sheriff is determined to prevent another bloodbath. It’s a far cry from the usual ”that was a long time ago, he’s dead now!” rhetoric these films usually wallow in.
Probably the best aspect of McElroy’s script is how tactical Michael is this time. He isolates his victims by causing a town-wide blackout and murders the entire police force, preventing anyone from coming to little Jamie Lloyd’s rescue. We’ve never seen Michael this diabolical, and it gives the villain increased presence, and threat, in this sequel.
The supporting cast works, too. Sasha Jenson’s Brady is an enjoyable lout who makes one hell of a final stand, Kathleen Kinmont blew my ten-year-old mind as the voluptuous sexpot (and Sheriff’s daughter) Kelly, while Ben Meeker (Beau Starr) is the kind of cop you want guarding your town. Barman Earl (Gene Ross) and Reverend Sayer (Carmen Filpi) add some extra, memorable flavor. And don’t even get me started on Ted Hollister.
I’d be remiss if I didn’t mention my favorite aspect of every Halloween film in which he appears: Donald Pleasence. The actor took Loomis one step closer to insanity with every performance – just a little faster to fly off the handle each time. Pleasence’s involvement was a terrific way for the series to retain some “legitimacy” (having an excellent actor appear in what many perceived as by-the-numbers productions) while the series ticked along. Unfortunately, the series stopped feeling like Halloween once he passed, and for me the franchise died when he did.
The setpieces are excellent throughout; the whole Meeker house sequence never fails to generate goosebumps, while the suspenseful classroom chase takes full advantage of its desolate school halls (and watch out for that blonde-haired mask). For a late-80s slasher flick, the emphasis remains on tension and atmosphere, rather than trumped up gore (which likely would’ve been excised by the overzealous MPAA of the era anyway) and violence. As such, Halloween 4 retains a degree of class that most slashers never achieve.
Halloween 4 works well because it doesn’t reinvent the wheel, instead choosing to honor its place in the series by acknowledging what worked before – and following suit. It has likable characters and offers a sense of history that helps enliven the fictional world of Haddonfield, Illinois. If you’re going to resurrect an iconic villain for another go ‘round, this is exactly how it’s done.
This brings us to a “good, not great” audio presentation. The Dolby TrueHD soundtrack sounds pretty good – its greatest strength being in crystal clear dialogue levels. Ambiance sounds are fair, although Alan Howarth’s great score falls a bit flat. Sound FX are fine but perhaps might’ve been a bit more punchy. The gas station explosion feels particularly unsatisfying – not what you’d come to want from uncompressed audio. But still, there’s nothing egregious here; it’s a perfectly adequate way to enjoy the film, even if I wanted a bit more.
As for special features there’s only one exclusive to Blu-ray, and that’s the brand new audio commentary by director Dwight H. Little. It’s a solid track moderated by HalloweenMovies.com curator Justin Beahm. It’s nice to get Little’s perspective on this flick finally, and his recollections make for a pretty interesting listen. To his credit, Beahm asks some good questions and keeps the dialogue moving. From previous DVD incarnations, we get the commentary with Ellie Cornell and Danielle Harris – a fun and lively discussion if ever there was one. Nice to hear Cornell and Harris’ chemistry is still as terrific as ever. There’s an eighteen-minute Halloween 4/5 discussion panel featuring Danielle Harris, Kathleen Kinmont, Sasha Jenson, and Jeffrey Landman (Billy from Halloween 5). It’s an enjoyable feature in which each participant shares some personal recollections of their experience. Lastly, a standard definition trailer rounds out the set.
Halloween 4 doesn’t stand up against John Carpenter’s seminal slasher. That’s obvious. But it succeeds at everything it sets out to accomplish just the same (with only a slapdash mask design for Michael holding it back). It’s among the top slashers of the 1980s and easily sits as the best sequel in the Halloween saga. In fact, it’s one of the films that cultivated my ongoing obsession with slasher flicks, and watching it always feels like going home again. Anchor Bay has given this a strong Blu-ray bow and supplemented it with some decent extras. If you’re a fan of Halloween, this one belongs in the collection.
- New, Blu-ray exclusive audio commentary by director Dwight Little & moderated by Justin Beahm
- Audio commentary with actors Ellie Cornell and Danielle Harris
- Halloween 4 / 5 Convention Panel
- Theatrical Trailer
Film: 4 1/2 out of 5 Special Features: 3 out of 5 Discuss Halloween 4: The Return of Michael Myers in our comments section below!
PANTHER RIDGE Review – When Your New Job Takes You To Interesting Locations
Written by Ryan Swantek
Directed by Ryan Swantek
Director Ryan Swantek’s graphic-take on a young woman unhappy with her looks in White Willow was in my useless opinion, one of the strongest short films to hit the horror genre in quite some time. It was brutal, unflinchingly ruthless to eyeball, and best of all for a first-time directorial effort, there was no apology for what was put before us – let’s venture over to Panther Ridge.
So what comes around in the second-time in the big guy’s chair? Well, when I’d heard that it was a sadistic look into the BDSM scene, I’ll admit I was a bit intrigued (no, I’m not into that stuff, ya kooks) – I’d just honestly hoped for a bit more than what was tossed to me. This particular short film is titled Panther Ridge, and it tells the story of a young lady who is getting a fresh start in a new career – that of a dominatrix, of sorts. As this presentation begins, she’s smack dab in the middle of a dungeon with a very unlucky prisoner and the woman who will be guiding her in her “training.” I’ll tell ya, first days on the job can be stressful, but with the correct forms of relief, you can make it through the day all the while exorcising some pent up demons as well.
Commence brutality upon this poor tied-up fool and the lass roped up across from him, for they know not what lies in store for them next, but rest assured they’ll be making a blood donation whether they want to or not. Unfortunately my self-imposed hype proved to be insurmountable as Swantek’s second time up to the plate resulted (for me, anyway) in a big swing and a miss. What worked in his maiden voyage with Willow was the notion that you were going to witness the repercussions of a tortured soul as she looked in the mirror, whereas this time we’re watching some poor sap get the snot beaten out of him, and I could honestly see the same thing in a number of other productions for a longer stretch of time (if you dig that sort of thing). I’ll await Mr. Swantek’s third production when it’s time, and hopefully it’ll pack more of a sustained punch than this quickie.
Swantek’s sophomore directorial endeavor unfortunately isn’t much more than shock and torture-porn crammed into an abbreviated timeframe – been down this road more than a few times.
EMANUELLE AND THE LAST CANNIBALS Blu-ray Review – Savagery & Sexuality From The Master Of Sleaze
Starring Laura Gemser, Gabriele Tinti, Monica Zanchi, Donald O’Brien
Directed by Joe D’Amato (Arisitide Massaccesi)
Distributed by Severin Films
After taking famed sex icon Emanuelle (Laura Gemser) to Bangkok (1976), America (1976), and Around the World (1977) legendary sleaze director Joe D’Amato decided to mash up two of Italy’s most notorious genres by sending his beautiful muse down to the Amazon rainforest, cinematic home to countless hordes of cannibal tribes. The Italian cannibal craze of the late’70s was just beginning to take hold, offering D’Amato a ripe opportunity to satisfy both the bloodlust and, well, regular lust of exploitation devotees worldwide. For the most part the film plays out expectedly, with a reasonably large group of people meeting in the Amazon and trekking off on a quest. By the end, that group has dwindled down to only a few members, all of whom probably have a lot of regret about traipsing through the jungle. Aficionados will get a bit of a “been there, eaten that” vibe from the film, which hits every trademark of the genre sans animal cruelty, but Emanuelle herself spices up this cannibal comfort food with an alluring performance capped off by one helluva genius ending. The film also holds the dubious distinction of showing a penis being eaten less than 15 minutes after the opening credits. You set a high bar, Joe.
When an unlucky nurse has half of her tit eaten off by a newly-arrived mental patient, a girl found in the Amazon jungles, journalist Emanuelle (Laura Gemser) infiltrates the sanitarium to score a hot scoop. Armed with a camera concealed within a baby doll head, Emanuelle surreptitiously snaps a few shots before making the new girl talk via… digital means – and I’m not talking technology. Emanuelle takes her information to Professor Mark Lester (Gabriele Tinti), a museum curator whom she hopes will fund her expedition. He agrees. Then, she goes and screws some random guy in broad daylight down by the river. Later, she comes back and has more sex, this time with Mark. The next day they leave for the Amazon.
Upon arrival, the two are met by Isabel (Monica Zanchi) and Sister Angela (Annamaria Clementi), both of whom have altruistic plans of their own in the rainforest. Their trek soon brings them across Donald (Donald O’Brien), a hunter who is on safari with his wife and a guide. Now that the film has brought together a large group of people, some of whom are more reprehensible than others, it’s time to pick them off and watch in delight as cannibals of the Amazon gut them, skewer them, and devour their flesh while the soothing sounds of Nico Fidenco play in the background.
So many of these Italian cannibal pictures feel interchangeable because the formula is incredibly simple – send a group of naïve outsiders into the Amazon and let an indigenous tribe kill and eat them, usually in the most horrific manner possible. What sets this film apart from so many others is in the title: Emanuelle. Gemser is not only easy on the eyes but she has this magnetic presence on screen, not because she is a great actress but her looks, abilities, and personality combine to create one of exploitation cinema’s most capable and sultry sirens. It is entirely due to her ingenuity here that anyone survives at all. She isn’t a rag doll, tossed around and used for sex and companionship; Emanuelle is a woman in charge of her own sexuality and she calls the shots. This film was made during a time when women were often used as set dressing or spent most of a film being subservient, so it’s a nice change of pace to have one in the lead who takes control and it feels natural, not forced.
Don’t go thinking this is some kind of strong female-led picture that celebrates womanhood or anything. D’Amato never likes to peer too high from his gutter view, and “Emanuelle and the Last Cannibals” is a sleaze sensation; a cornucopia of cannibalism and carnal acts that culminates in the titular heroine literally becoming a god… temporarily. D’Amato takes two of humanity’s greatest loves – eating and screwing – and builds a story around them. Besides all of the aforementioned fornication, nipples are eaten as an amuse-bouche, penis tartare is part of the starter course, a vagina makes unexpected friends with the business end of a machete, a woman is gutted like a deer, and one guy learns a thin rope can still be strong enough to tear the human body in half. Nobody gets out of this thing unscathed… except, maybe, for Emanuelle who seems unfazed by every atrocity the world throws her way.
Ugly films need beautiful music and the lush, soothing sounds of Nico Fidenco make for the ultimate dichotomy of relaxation and revulsion. Fidenco’s score is less the serene soundscape Riz Ortolani composed for Cannibal Holocaust (1980) and more of a funky, porno-lite trip down ‘70s Lane. Oftentimes the composers on these rough Italian pictures delivered scores that felt like they belong to something more refined and accessible, not a movie destined for banning in multiple countries and cut to ribbons in others. Fidenco provided the score for many entries in the Black Emanuelle series and while those films might be past their prime the music is completely timeless.
Severin has provided a new 2K scan from unknown elements, delivering a 1.85:1 1080p image that falls right in line with most of their catalog. The picture has been cleaned up enough to allow for high-def improvements in clarity and coloration to (mostly) shine through, while still retaining a gritty look to remind viewers this is still a grindhouse picture. Film grain is heavy and active, swarming the picture but never becoming noisy. Contrast is variable, as is sharpness, with some scenes looking closer to HD than others. Colors are accurate but a bit anemic, too, with only a few instances of truly popping against the ever-present jungle greens. Detail is swallowed up in darkness, so don’t expect to see much of it when night falls, which thankfully isn’t often. I’ll say one thing Italy sure does make for a fine Amazon stand-in.
Audio is available in both English and Italian DTS-HD MA 1.0 mono, both of which offer a similar audible experience. The standout here is unsurprisingly hearing Fidenco’s score in lossless glory. The ADR work is typically poor and obvious, but everything is understandable and there are no noticeable issues with hissing or audio damage. Subtitles are available in English.
The World of Nico Fidenco – The legendary composer sits down for a new interview, covering his career and the Emanuelle series. In Italian with English subtitles.
A Nun Among the Cannibals – Actress Annamaria Clementi provides a new interview about her role in the film and what it was like working with D’Amato. In Italian with English subtitles.
Dr. O’Brien M.D. – This is an archival interview with Donald O’Brien, who played the wild and wily hunter, Donald, in the film.
From Switzerland to Mato Grosso – Actress Monica Zanchi gives a new interview that covers her career.
I Am Your Black Queen is an audio-only archival interview with Gemser.
A theatrical trailer (in SD) is also included.
- BRAND NEW 2K REMASTER OF THE FILM prepared for this release
- English and Italian audio tracks, with optional English subtitles
- The World of Nico Fidenco – an interview with the composer (27 min)
- A Run Among the Cannibals – an interview with actress Annamaria Clementi (23 min)
- Dr. O’Brien MD – an interview with actor Donald O’Brien (19 min)
- From Switzerland to Mato Grosso – an interview with actress Monica Zanchi (19 min)
- I Am Your Black Queen – an audio commentary by actress Laura Gemser (11 min)
- Original trailer
There is no point to making complaints about plotting when watching a film with this title. D’Amato promises viewers nothing more than a sleazy time intended to induce equal parts creep and kink into a span of time. Severin’s release offers a cleaned-up picture and a solid selection of extras that catch up with a few of the principal cast and crew.
KAET MUST DIE Review – A Game Worthy Of Its Title
Available on PC through Steam
Rated T for Teen
If you are looking for a new survival horror game that is both challenging and irritating, then Kaet Must Die could be your new obsession/torture. The indie game is set in an underground sewer where you are Kaet, a psionicist cyber punk trapped by a “blood witch” named Annalinnia. The objective is to figure out how to escape the ‘dank’ sewer before time runs out and Annalinnia takes your life. Along the way you’ll have to tiptoe over comatosed zombies and frighten off Jawa like creatures with light you absorb from glowing mushrooms. And that’s about it. The game was created and developed by Strength in Numbers Studios Inc., a fairly new gaming company in the world of survival horror.
Now, I normally don’t play these types of survival games. As a novice in the indie survival genre, the experience of trying to complete the first level of Kaet Must Die was quite tedious. Now this is to be expected, as their advertising makes it quite clear that the good folks at Strength In Numbers studios are shooting for the “difficult games are fun” crowd. They give the player plenty of warning that they will need more than luck to survive. Yet here I am to tell you that the first level is possible to get through regardless of what difficulty you select. It just might take a few hunderd tries.
The game starts you off in the underground sewer with Kaet’s sanity at ten (read “sanity” as “health bar). Kaet’s sanity will drop when not in lit areas, another reason why you need to collect the glowing mushrooms. Having six minutes to follow the clues and find the skulls before time runs out gets tricky, especially when Anna comes for you by randomly generating around the map until luck is no longer your friend. Levels will become progressively more difficult, and your time limit changes depending on the size of the map. It’s not terribly complicated, but also not terribly exciting.
There are a few upsides to Kaet Must Die. Like every good survival game, Kaet Must Die has decently immersive visuals and sound. The look and feel of the game is much more appealing than some, from the detailing of the zombies to the sewers you land yourself in. Not that sewers are a pretty place to be in, but they have a solid fantasy/horror vibe. Unfortunately, there isn’t a lot of cohesion to the various sub-par lights and average shapes. It can be downright impossible to tell where things are around you. You’ll want to keep your ears open, as frustration will become all too familiar when you are too late to hear the gentle snoring of a zombie or the disturbing giggle of the Jawa-like creatures.
I would say that it’s nice that they at least let me change the controls, but for some reason they don’t save when you quit the game. The only settings that stay exactly where you set them are the basics for resolution, sensitivity, and graphics. Now, what is not so frustrating is that after you get killed three or four hundred times, the skulls that you need to escape Anna won’t randomly be somewhere else when you restart the level. Another upside is that as you slowly start to regain Kaet’s powers, you will finally be able to slow down the creatures and make your way to exactly where you need to go. One of Kaet’s powers is the classic stun. Using this power to stun any monster in place for at least five seconds was a relief, and gave me time to focus at the task at hand. Like the mushrooms, Kaet’s stun powers need to be recharged by absorbing puddles of glowing red blood. Simple, right? Well, sort of. Clues left behind hint that the blood makes you more powerful, but also slowly kills you.
For anyone who is not typically good at horror survival games, this isn’t for you unless you have the patience of a saint. The difficulty comes in three flavors: Challenging (Easy), Difficulty (Normal), and Nightmare (Hard). If you’re one of those people that absolutely must have a zombie apocalypse survival plan for any possible situation, you’ll probably find some enjoyment from Kaet Must Die. For everyone else, I would wait for a Steam sale. There are 10 levels to get through to beat this game, but have fun and good luck getting past level 1.
This indie survival game is too irritating to play. Kaet Must Die is near impossible to finish and it’s not a lot of fun no matter how many times you die..
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