**SPOILERS** If you have not seen this film, and don't want anything ruined for you, don't read! There are also (somewhat) spoilers for "My Little Eye" included (basically a plot outline as you would read on the back of the DVD box). You've been warned! Sitting down to write about a much maligned franchise, let alone a film in that franchise that has perhaps been most specifically targeted for criticism, can be thought of as something of a suicide mission. And then, when the person writing the comments is an avowed fan of the series and all its twists, turns, and unreasonable demands for the suspension of disbelief, perhaps it could be written off as the ramblings of a desperate confused mind. All I can say is “oh well” on both counts. The Halloween franchise has been through some ups and downs over the years. Some claim it was right downhill after the first installment, others that it has pits and troughs. In this day and age even the initially hated Halloween III, which took the franchise away from Michael Myers instead trying to impose a franchise around the holiday season, garners more fans than detractors. Who knows what’s real anymore? Regardless of feelings on the topic, it was Michael Myers that carried on through the films that followed that effort to try something different. Myers IS Halloween, and through strange plot manglings and the death of much-loved characters, he continues to hack and slash through film after film. Of course, some seem to want to apply strict linear storytelling to a tale told over 9 films. It should be obvious that this wouldn’t work – Halloween is a slasher at heart, and no slasher I have ever seen has truly extended into the realms where the brains cells yearn for anything more than the next kill. There are threads here, some rather interesting, but the genre in which it sits hamstrings it somewhat. Unless we want a movie with Myers in a psychiatrists chair, we ought to be thankful – and accepting – of what we’ve got. Still, having said that, Halloween hasn’t been a completely braindead series of films. Following the Strode family through their living hell, and watching the desperate Loomis hunt his prey, has given the series a driving force that have, loosely, held the whole thing together. However, with Donald Pleasance dead, and Jamie Lee Curtis apparently not willing to resurrect her role time and time again, the series will undoubtedly have to move in different directions. But not before wrapping up some loose ends. Halloween Resurrection comes then on the tales of Halloween H20, which brought Strode back to the fray. Halloween H20 was made around the same time as Scream and the like, which its glossy look, pretty teens, pop music soundtrack, and mainstream efforts at tension and gore, it suffered/benefited, from that. Halloween Resurrection is a film of two parts. Firstly, it has to wrap up that Strode storyline once and for all (if the term “once and for all” can apply to a film series such as this). This preamble exists to put an end to the Curtis character. It’s a fine segment, with some nice touches. However, it does sit rather awkwardly with the main plot of the film, which is the perennial – “When Michael Comes Home”. Strode has been the primary focus of the Halloween tale since day one. While it is regretful that such a key story element is being abandoned, it is difficult to imagine what could have been done with it at this point. Here she looks tired, having been hunted her entire life, ready for that final confrontation, and an ending of sorts. Curtis has been a shining light in these films whenever she’s appeared (as was Pleasance), and in her brief scenes, she truly manages to portray someone who is dead on the inside, hanging around for that final meeting with her destiny. There is a fatality to the Strode segment. When the film starts we find her in a hospital room, faking a vegetative state. In fact, she is simply waiting for the night she knows will come, the night when Michael tracks her down, and one or other of them must shuffle off this mortal coil. The thing is, everything from fire, shooting, to falling down mine shafts has been utilized in the search for a way to kill off Michael. I suppose we all knew how this was going to end. The climatic scene on the roof is played out with a great deal of sentimentality, with the fatal mistake on Strode’s part being her humanity. Having made a grievous error at the climax to Halloween H20, Strode cannot live with herself if she lets it happen again. This fatal sense of justice is her undoing. Hanging over the precipice, hanging on to Michael for fear of falling, with a knife plunged deep into her back, Laurie looks into the eyes of Michael with a sense of family hatred that is palpable. One last kiss, a message they will meet again in hell, and she plunges to her death. One has to wonder if there is any mourning at her failed attempt. Strode must have known in those last moments that the world would never truly be free of Michael. Part monster, part human, yet part of her – Strode falls with a look of resignation more than anything else. Michael, it appears, has now achieved his goal. His family slain, the question remains – what next? Of course, Michael does what he always does, he goes home. This is the start of the main segment of the film. For better or worse, Halloween Resurrection decided to be topical. With the Internet all the rage, it was decided to bring it into the Halloween universe. With the similar series Friday the 13th going into outer space, perhaps this is not much of a stretch after all. One of the issues remaining in the series is – what drives Michael now? With his family dead, what is going to move him out to slay more strangers? In the case of this film we have a home invasion. The plot should be familiar by now. Dangertainment has set up a “reality” show for broadcast on the Internet – basically a “Night in a Serial Killers Lair”. Since this is “reality”, of course, nothing is real. In order to ensure that scares take place, and that mysteries are created, the program makers have filled the house with red herrings, false indicators of what happened before, and some hyper teens after fame. No-one, as it happens, knows that Myers has gone ahead and moved in downstairs. Yes, under the house, in the dank tunnels of an old drainage system, Michael has been sitting eating rats. Once this Internet home invasion occurs, he must do some cleaning up, extermination of the pests. There are a couple of interesting things about this film. Firstly, Rick Rosenthal returns to direct another installment. It’s as close to a coup in this franchise as you can get - aside from the ultimate, Carpenter coming back again. Rosenthal has brought back the deep blues, the rich yellows and oranges, and some of the tension missing from some entries in the series. At times this is a beautiful film to watch. However, the great footage is interspersed with webcam scenes, which by definition is less satisfying. Perhaps that is why so few people recognize how well color is used in the film. I also wonder how crazy it must have driven Mr. Rosenthal – composing these wonderful shots while being saddled, at intervals, with the necessarily grainy and rather boring webcam inserts. Another interesting facet is that the idea behind this film was ripped off wholesale by a film which, as opposed to Halloween Resurrection, is much praised. That film would be “My Little Eye”. The plot of that film is a bunch of teens that go to a house to participate in a “reality” TV Show that is to be broadcast on the Internet via webcams. They must stay there 6 months to get a ton of cash. However, they’ve been set up, and there’s a killer in the house with them. Sound familiar? It should, it’s Halloween Resurrection, without Michael. Along with the webcam footage in Halloween Resurrection we have a whole host of homage’s to the rest of the Halloween franchises, and to some other genre classics. Take for instance the first kill in the house – straight out of “Peeping Tom”. In one scene a character gets stuck in a closet, and the others have to break through the white slats… straight from the original film. We get a knife through the door kill, with the trademark tilting of the head, also from the first film. We get someone slipping in a huge pool of blood, as in “Halloween II”. Perhaps more fun, we also get to see some “Blair Witch Project”, when a frightened character, fearing for her life, places the camera under her chin, looking up, as her tear stained face cries for help.