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Halloween, the 2018 film from David Gordon Green and Danny McBride is here.

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The world has changed since Michael Meyers claimed his first victim forty years ago in John Carpenter’s Halloween, and so has the horror movie genre. Gone are the hockey masks and hormonal teenagers, in are the low-budget thrillers (Split) and ghoulish gems (Hereditary) with pointed social commentary (Get Out). But that just makes Michael Meyers’ mayhem all the more exciting in 2018 — and almost unexpectedly gruesome. After so many years and even more pale imitations, Halloween from director David Gordon Green is the icon’s triumphant rebirth (with an amazing soundtrack), reinvigorating the series that cemented so many tropes we now take for granted (the final girl, death by sex, and countless more).

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It’s also the smartest it’s ever been, a film keenly aware of the mildly progressive ideas it had in 1978 that doubles down on them in 2018. In theaters on October 19, #Halloween is a sequel to the first film that introduced Michael Meyers, the silent killer who terrorized the sleepy town of Haddonfield, Illinois, leaving teenager Laurie Strode (Jamie Lee Curtis) the only survivor. Four decades later, Laurie’s “story” is now a legend in true crime that beckons journalists and podcasters to her triple-padlocked door. A whole generation of Strode has passed, and it’s Laurie’s granddaughter Allyson (Andi Matichak) who must survive when Michael Meyers (James Jude Courtney and Nick Castle) roams free again. Luckily, there’s Grandma Laurie, who’s apparently done nothing for the past 40 years but prepare for her rematch. With all sequels struck from canon, David Gordon Green and comedian/co-writer Danny McBride wisely ignore the other nine films to zero in on Laurie and Michael Meyers. No more cults, no more weird backstories. And while the film packs an ensemble of colorful characters you want to get to know more, which is sort of pointless in a slasher flick (though Judy Greer’s Karen Strode earns a fist-pumping moment of dopeness) Halloween makes it clear that Laurie Strode’s vengeance, 40 years in the making, is nothing but personal. The Strodes are the true weapon in Halloween. While Michael is the literal face of the franchise (the moment he regains his mask plays like a twisted superhero film), it’s the tense relationship among the Strodes that gives the film a pulsing heart. You buy a ticket to see Michael Meyers chop folks up, but you stay in your seat to see the Strodes work out their shit in order to kill their boogeyman. Halloween Michael Meyers Of all the Strodes, it’s the razor-sharp Curtis, who transitions between trauma survivor and pretty much The Punisher, that helps Halloween avoid turning into the grindhouse riot it became under Rob Zombie. But it’s also more than just a throwback to Carpenter’s era, when the genre blurred the lines between kitsch and classicalism. In its revisiting of Laurie/Michael’s destructively symbiotic relationship, the film siphons the cultural energies of 2018 in way that retroactively proves how prophetic and progressive horror has mostly (but not always) been. While Halloween’s exploration of trauma is powerful on its own, in 2018 you can’t think of anything but MeToo and a woman’s rage against a personal injustice. While the seeds for this story were planted forty years ago, and the new film entered production before Brett Kavanaugh answered for his assault allegations, Halloween’s themes — in particular how PTSD can impact families for generations — feel all the more underscored by Kavanaugh’s recency in the headlines. Halloween isn’t an explicit call to arms, but it does lend a power fantasy as the climax flips a classic trope to make Laurie the hunter and Michael the hunted. Each time Laurie pulls the trigger at Michael’s undying body, you feel Laurie’s palpable anger over what’s been taken from her: peace.

"The Slasher genre is back" with this new incarnation of the franchise, taking place 40 years after the original.

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