Scene 41: In her apartment, Keri is straddling Will and sharing Candy Corns. As they start making out, Keri decides now is the time to come clean about Laurie Strode. She starts by telling him that she’s not who he thinks that she is, which he takes as a sexual game of naughty nurse or sexy spy or whatever.
He at first doesn’t seem to grasp that she’s not playing, but she continues sharing her history. He recognizes the story as that of Michael Myers, whose Haddonfield exploits are apparently very well known. He points out that Laurie Strode was killed shortly after, but she tells him that she didn’t die. She faked her death and went into hiding as the headmistress of an exclusive academy, where she spends all of her time fearing that her brother will find her.
When she sees on his face that he’s believing her, she mentions how that must explain a lot about her behavior. She gets up and gets her hidden vodka bottle, not bothering with the glass.
Will is left stunned, obviously. As he tries to grapple with the truth about Keri Tate, he asks the innocent question of how old she was. Laurie notices the birthday card received from John’s father, for his 17th birthday… the age she was on the night that Michael decided to leave the sanitarium and find her. This puts her full-on back in panic mode over John being off in the middle of nowhere, unprotected on that school trip.
She decides she has to call her son to check that he made it to Yosemite safely. But she finds the phone is out of order. She takes off to John’s room to try his line, but it’s out too.
Even as she’s convincing herself that her brother has come back for her at last, she spots John’s camping gear peeking out from his closet, pointing to his not being away after all. To Will’s growing concern, she rushes into her bedroom and snatches a gun from under her pillow.
Will tries to tell her she’s acting nuts, but she isn’t to be detoured. She opens her door, only to get a scare from Ronny standing there, who is also a little worried to find Ms. Tate with a gun in her hand - the barrel pointed at his chest. Ronny reports that he knows about the phones and then tells her about the truck abandoned at the gate.
Will tries to calm her down, but she orders Ronny to try to get the phone working [presumably at the trunk] while she goes to find her son and the other kids on campus. They’ll meet at the front gate to leave.
Commentary: I love this scene, especially the intimate acting between Jamie Lee Curtis and Adam Arkin as Keri reveals her dark history and Will figures out that she’s not shitting him. It’s some really great dialog and some nice acting between these two, and I love Laurie’s sense of growing panic as she realizes that John has turned seventeen.
The only problem… and it’s only one if you think about it, which you’ll have to do now that I’m bringing it to your attention… sorry, not sorry… is just how did Michael reach the conclusion that exactly enough time has passed for Laurie to have a seventeen year old son to menace?
The way the string of revelations is played, it seems like Michael is coming out of the woodwork again after 20 years specifically because he has a nephew who has turned the magic age to set him off. But this cannot make any sense. There isn’t any way that he’d learn that Laurie isn’t dead, that she’s got a new identity, or that she has a son who is the perfect age to stalk until he broke into Nurse Chambers-Whittington’s home office. So, why did he do this at all?
It’s never answered or even brought up. One could conclude that he went after Marion because he didn’t kill her the first time around and she was involved with Loomis - with everything about Laurie being a happy happenstance except we still don’t get any reason as to why he’d care about hunting down the [from his viewpoint] random nurse so many years later. One could, I suppose, conjecture that he’d seen news clippings about the doctor who immolated his psychotic patient in Haddonfield having died and this kick started his latest killing episode but that seems a stretch to me.
There is a huge plot hole that isn’t even attempted to be addressed as to why Michael would have tracked down Marion this exact amount of time later to kick start the entire plot. And that sort of thing rankles me, because I want to have unfettered love for the story and now I really just can’t.
Damn it, Michael… WHY are you HERE right NOW?
Scene 42: Over in the dining hall, Sarah arrives in the kitchen looking for Charlie who hasn’t come back with their booze stash. Things are a bit too quiet… but only because he’s hiding out in a side room to slip behind her and throw his arms around her.
But, they’re still missing a corkscrew so he leaves her again in order to retrieve it up in the supplies cabinet. This he accomplishes by taking the dumbwaiter shortcut rather than the stairs. She watches him closed up in the dumbwaiter with annoyance.
Scene 43: Upstairs, Charlie finds the corkscrew and manages to send it into the drain where a garbage disposal blade awaits. He reaches in for the screwage while we see Michael come into the kitchen behind him.
He does the usual with checking the ensure the power switch is flipped off, as the music starts its suspense-beat. We watch his fingers brush against the blades as he feels around for the needed implement.
It’s all okay though. He gets the cork opener just fine. Which doesn’t really help him when he turns and spins right into Michael’s hulking form standing there waiting for him. We see Charlie’s startled and unsure expression reflected in Michael’s eye.
Commentary: And this is where I feel like the film is starting to coast in order to drag things out with Keri/Laurie and, of course, those “hot cast of hip young stars!” by really stretching things with the series of jump scares. And Michael’s patience in … hanging around the kitchen looking for some left over chicken in the fridge?
It’s actually slightly annoying if only because they deliberately emptied the campus in order to control the victim pool and we’ve spent a lot of time in neutral without wild-n-wacky Dr. Loomis to fill some time.
I like that the Halloween franchise went back to being about suspense, as in the original, rather than the body count picture - but the suspense portion of that equation has already been lacking. And false scares and music stings don’t make up for that.
Scene 44: Waiting on the first floor is Sarah. She wanders into the pantry, where the light shorts out. Through the door to the outside, a large shadow passes by. She rushes to make sure the door is locked - presumably afraid they’re about to get caught.
The dumbwaiter returns to the floor and she complains to Charlie about trying to spook her some more. She marches over to the cubby and opens the door to find Charlie slumped over. It’s soon revealed he’s dead with a slashed throat.
Sarah does the smart, if disturbing thing and gets into the dumbwaiter with Charlie’s body. Michael chases and before she can get the thing moving up to the second floor, he’s able to slash her in the leg.
Scene 45: As Sarah reaches the floor and tries to climb out of the cubby, her skirt gets caught on an old nail. Meanwhile, Michael is hacking at the rope holding the dumbwaiter in place. Before Sarah can withdraw, it slams down on its fall toward the first floor. This breaks her leg, but with howls of pain, she’s able to yank her leg free and fall onto the floor.
Commentary: I’m of two minds about this hack-n-slash scene. On the one hand, I really like that Sarah is not going to be stopped by her terror, having to share space with her dead boyfriend in order to survive, or even by her torn leg [whose effect was really overdone -- it looks more like her leg was practically torn off and yet she’s not squirting blood all over the place and quickly falling into shocked unconsciousness via blood loss]. I like that she didn’t just stand there and get killed while ineffectively screaming in paralysis.
Now, on the other hand - I really dislike this scene because of the way she’s punished for not standing there ineffectively and getting killed. She’s not just slashed by Michael, but now she’s sporting a mangled leg. It feel mean spirited to me, because of the way that she’s made to suffer extended terror and horrible pain where as the guy victim gets a quick off-screen neck slash.
And of course, her suffering won’t pay off for her because duh.
Scene 46: In the basement, Molly and John are cuddling and waiting for the booze’s arrival when they hear the dumbwaiter crash down. He mentions how long their friends have been gone. Molly jokes that they’re probably busy, which John grins seems like an excuse for a cheap scare.
They go hunting for Charlie and Sarah.
Scene 47: Meanwhile, Sarah is pulling herself across the second floor. Michael appears in the doorway with his butcher knife. She tries to push herself away, but hobbled, he’s able to pin her easily to the floor by his boot.
He plunges the knife into her back over and over.
Scene 48: Molly and John make their way up to the first floor. The lights are naturally not working. John steps in a drag mark of blood. He sees it coming from the dumbwaiter, caused by Sarah’s mangled leg, of course.
The drag continues through the kitchen toward the pantry room. Although both Molly and John look really worried, he tries to assure them both that this is a sick prank.
And, he’s right. Michael has taken the time to carve a hole through Sarah’s body and hang her up by the shorting light in the pantry.
With screams Molly turns away and drags John. They both find Michael waiting at the end of the corridor, artfully backlit by a window. They also respond sensibly and immediately not only run, but return to the window they used to enter the locked building and make their way outside.
Commentary: So, this is the section of the film where I’m back onboard with things. The chase scenes are intense and since they did kill Jamie in the other timeline, it did strike me that they could go ahead and kill John Tate in this sequence as the impetus to force Keri/Laurie to stay and fight [and underscore that Frankenstein lesson about not confronting our monsters and remaining paralyzed by inaction causing suffering to everyone around us they were trying to get across earlier].
I did find it a bit ridiculous for Sarah to be strung up by the light fixture the way she was. It was a little too over the top and seemed more appropriate to Jason than Michael. But, I’m gonna slide by it, because it was a great visual and due to it being a signal that stalk-time on the periphery is over now.
Scene 49: Naturally after the initial adrenaline, Molly just must stop. They discuss a plan, John drags her along the sidewalk. But Michael has taken a shortcut. He grabs Molly by the hair, just as they start running.
John saves Molly by grabbing his uncle and punching him in his mask three times. Molly falls to the ground. But now John is in deep. He’s knocked to the ground and his uncle stabs him in the leg.
He scoots away as Michael prepares to jab him again but Molly grabs a rock and hits him in the head. She’s able to pull John to his feet and they run as Uncle Michael pulls his head together.
Commentary: Like with the first film, one of the fantastic creep elements is how Michael doesn’t make any sounds when he’s injured. While the kids are busy screaming and huffing and crying hysterically, he’s always just there seemingly unable to feel anything that is being done to him.
I also really like this scene because Michael isn’t using off-screen teleportation. You can see where he’d be able to catch up to them, while they’re instinctively following the sidewalk as he cuts through the grounds.
The chase music is a little odd in that it sounds very similar to me of Buffy the Vampire Slayer’s first season chase music!
Scene 50: John and Molly arrive at a gate that protects the dorms and she fumbles with her keys and Michael implacably continues to stroll up on them. They manage to get themselves through the gate, where John falls against the door. But Molly has dropped her keys on the other side of the gate while slamming it shut.
Despite John’s warning at how Michael is closing in on them, she screams in frustration and continues to stretch for her dropped keys before the killer can use them to reach them.
She fails to get them!
Her and John back against the outer door, with Michael stretching against the gate and slashing at them with the knife. Michael realizes in frustration that they’re just out of reach, but now notices the dropped keys. Molly and John watch with growing terror and doom as he starts fiddling to find which is going to fit the gate lock.
On the other side of the door, Laurie and Will show up to let them in just in time. Laurie slams the door in Michaels face, and the two stare at one another after 20 years through the small porthole-style window. She looks about as shocked as you’d expect to finally see the day has arrived when he’s found her again. He looks curiously at her… long lost sister.
By the time she regains her presence of mind to retrieve her pistol from her jeans pocket, Michael has already withdrawn to find another way in.
Commentary: I loved this whole sequence from the time that John and Molly see Michael dramatically lit to Laurie and Michael staring at one another. The entire chase scene was tense and exciting and sets up beautifully that Laurie now knows for sure that her brother is back and has tried to kill her son. This leads directly to the ending, where she’ll decide that she’s not spending the next twenty years on the run again with his hulking shadow always over her shoulder.
Both Michelle and Josh do a terrific job with their characters’ panic and desperation.
Scene 51: Inside, John is on the floor again with his wounded leg. Laurie drags him to his feet and leads the survivors upstairs through the dorm, understanding that Michael is even now looking for a way to reach them unexpectedly from any corner, hallway or closet.
She has been through this before, after all.
Upstairs, she notices all of the open windows. Turning the opposite way, she shoves John and Molly into a utility closet and tells them to stay quiet. She goes back toward the line of open windows, now turning the tables on the stalking.
Will understandable wants to know just what they’re supposed to do now. “Try to live,” is the not-very-comforting response.
When they reach the windows, Laurie tries to convince Will to jump down and make his way to safety while she tries to draw her brother by staying put. As they’re arguing, Will spots a shadow at the end of the corridor and snatches the gun from Laurie’s hand. He fires.
Thankfully, he’s a suck shot because the shadow was just poor Ronny coming to the sounds of all of the commotion. He gets hit, but isn’t killed.
As Laurie and Will discover who he’s just shot, the real target comes out of the closet behind Will. He takes the large knife to the side and is lifted off of his feet, going into immediate shock and spasms.
Laurie leaves him as Michael watches her retreat before dropping Will to the ground.
Commentary: What I really liked about this sequence is Laurie’s reaction. It’s almost horrible how she just leaves Will impaled in Michael’s grip to retreat the way she does, but I like how she doesn’t go into hysterics at it. She’s determined to survive until she can turn the tables, and there isn’t anything that she can do about Will’s injuries or with the emptied gun on the floor.
I like that we see her in survival mode. After so many years of waiting for this moment when she’d inevitably be hunted down again, she’s not the panicked teenager collapsing in tears every time she turns a corner out of Michael’s view. She continues to think and react with her only other concern to get in her way being John.
Scene 52: Laurie dashes around the hallway to open a door, only to find it’s a storage closet and not much help.
Scene 53: Michael comes around the corner. On the closed door is a huge, bloody handprint. The door is locked, so he starts breaking through it with his knife. But Laurie has already been through this with the closet door [very nicely setting up this moment by including that specific flashback at the beginning as part of her nightmare].
She’s not actually inside and appears behind her brother with a fire extinguisher. She beams him in the head. With the extinguisher dropped because of its weight, she retreats down the hallway. She bangs on the closet door with John and Molly and retrieves them while Michael is left once again getting his head together.
Commentary: Okay, so this is the part where you want Laurie to just keep bashing Michael’s head in - or to grab his knife and hack him to pieces. I understand that. But, we all know that things can’t end that quickly and anti-climactically, so I’m fine with this being about the fire extinguisher making a heavy and awkward weapon this isn’t suitable for close range combat or with Laurie risking trying to wrestle away the knife.
It does strike me that Michael… psychopath though he may be… should be a lot more disoriented, if not out cold by the blow to the head. As we know, he’s able to take a lot of ridiculous injury and keep coming. It’s just part of the mythos and we have to accept that. I’m not blind to the silliness, I’m just choosing not to let it drag down my enjoyment of the extended chase between him and Laurie after so long and with high hopes of a satisfying resolution for her at the end of this.
Scene 54: Outside, Laurie herds Molly and John to her SUV. John is shoved into the back seat, while Laurie gets Molly across to the passenger side.
Michael nearly catches them when the car, of course, doesn’t start but then it turns over and Laurie skids out down the drive leaving Michael in the rearview mirror.
Scene 55: At the gate, Laurie hops out to open it with the keypad. Molly pleads for her to get back in, but after a moment of consideration, she orders them to leave without her. To John and Molly’s terrorized pleas, she tells them to go and get help while she keeps Michael there.
She shuts the gate on her relative safety and breaks the electronic keypad with a rock. From the guard’s shack, she grabs an emergency fire axe. Marching back up the driveway with her new weapon and backed by the Halloween theme, she shouts for Michael.
Commentary: Oh my god. Love this image… love it. And the theme coming in as an emphasis that she’s taking control of this fight from Michael by stealing his theme music is a brilliant touch. I’m so in love with Laurie Strode right now.
Scene 56: She marches confidently and angrily back down the dorm corridor, shouting for her brother to show himself. As she crosses the floor, we see him [awkwardly… and very unconvincingly] one arm lower himself from some plumbing pipe above her to drop right behind her.
They slash at one another. She drives the axe head into his shoulder, while he slices her arm and sends her tumbling to the floor. She retreats.
Commentary: And interestingly, this is possibly the only time when we actually see Michael angry. The way that he tossed that axe, blade first, into the floor seems to convey more feeling than usual from him and Chris Durand seems to put some anger into Michael’s eyes from behind that blank mask.
Which is my way of mentioning now that I really like the work done for Michael in this film. We don’t get a lot from him, of course, because he is so remote from his robotic murders. But this moment gives us a hint that there is something in him and in a scene at the end, there is a marvelous bit of work done all through his eyes that we’ll talk about then.
Scene 57: Michael follows Laurie, where they’ve ended up in the dining hall. Laurie is hiding under a table as Michael walks through, where she shadows behind him rolling from table to table and trying to keep tabs on where in the room he is.
She loses sight of him for a moment, and we see that he’s taken up a position standing on the very table under which she’s hidden.
Commentary: This whole scene is really awkward. In order to focus on Laurie’s face - I’d guess - they chose to not have long table cloths. It makes it both silly that Michael didn’t just bend down and see exactly where she was at on entering, and it makes it ridiculous that Laurie would choose such a bad hiding place to begin with. The illogic of the entire set up is a mess, all so that we could get a better look of Jamie Lee looking fearful, but determined? Uh, not worth it.
I did like how we see Michael stare down at the floor from the foot of the table, making it clear that he’s playing with her and knows exactly where she is right now. I’m just not convinced that after all of these years, he’d choose now to play hide-n-seek like this -- in such a stupid place for it, to boot.
Laurie rolls out from under the table, only to be met with the slashing knife blade. She manages to avoid it, but whimpers as she realizes what a mistake it was to hide under a table with short cloths that don’t actually hide her. She distracts him for a moment by kicking out a chair behind her as she dash-crawls along the line of tables.
He isn’t fooled and follows by stepping from table to table after her. He leaps down in front of her, causing her to desperately roll again to avoid another knife slashing.
Now skidding along the floor under the tables on the opposite side of the room and in the opposite direction, Michael follows along flipping over the tables behind her. She looks really, really screwed for her dumb choice.
Somehow, she manages to get out from under the table and to a flag stand before he catches her. She grabs up the flag and jabs Michael with the pointy end of the stab shallowly into the abdomen. The cheap wood splinters and breaks before she can really drive it through him. She tries to javelin him, but misses and runs again while he gets to his feet.
Scene 58: Taking a back staircase brings her through the same door to the second floor kitchen that Michael used to get both Charlie and Sarah [but the maid has been through and no blood remains on the floor … huh…].
She pulls out a drawer of steak knives and begins hurling them at him while he advances on her. She’s a horrible aim. He tries to drive the knife into her but she uses the drawer to throw off his aim. She stands up with her knee to his crotch, causing another actual reaction through his eyes.
They wrestle with the knife stuck in her drawer-shelf shield. Now armed with a butcher knife of her own, she retreats again into another back hallway. He doesn’t know the meaning of the word quit, of course.
Scene 59: Laurie dashes out from a curtained balcony and drives the butcher’s knife into him over and over as he’s driven backward and over another balcony to fall into the dining room below, crashing through one of the table that he didn’t manage to flip over on their first time through.
She stares down at him, hyperventilating as he lies still and seemingly dead [yeah, I’m sure].
And yes, she does drop the knife again. In the distance, the police sirens are sounding on their way.
Scene 60: She makes her way, half in shock and unarmed, into the dining hall. Michael continues lying where he fell with one knife clutched in his hand and another buried in his chest bone.
She yanks the tip out and winds up with arms overhead to drive another blow through him. From off screen, comes Ronny with his head bloodied. He grabs her and insists that he’s dead and she’s safe now, keeping her from continuing to make sure. He drags her away, kicking Michael’s foot as she goes.
A slow pan upward reveals… no response from him, actually… not even an eye twitch.
Scene 61: Later, after daybreak, the coroner’s van, ambulances and police are all over. Ronny’s head has been wrapped up. He’s back on a cell with his wife, excited that the experience has inspired him to turn his romance novel into a romantic thriller. They exchange sappy love exclamations at one another. He tells his wife that Will’s bullet just grazed him as he passes by Laurie, seemingly oblivious to the fact that people not him were brutally murdered there that night.
Scene 62: Huddled against a wall is Molly and John being questioned by a detective. Laurie stands in the foreground, staring at Michael being carted off in a body bag to the coroner’s van.
She marches toward the van, snatching up an axe from an officer’s patrol car hood [?!?] as she goes [Presumably this is the weapon she used on Michael, having been collected for tagging as evidence… and left lying around rather stupidly and nonsensibly so she can grab it… guh!] and then surprising a cop by grabbing his gun from his holster.
She tells the cops not to move. Before anyone can deal with her sudden psychotic behavior, she’s ordered the coroners to continue loading the body. She then gets in to the van’s driver seat and takes off with Michael’s corpse.
John and Molly are left with the police to wonder just how broken his mother is now.
Scene 63: Laurie takes off down the winding canyon road with her brother’s body secured in its body bag. She keeps glancing in the rearview mirror, urging him to prove to her that he isn’t dead yet [After all, she’s seen him get shot multiple times and blown up in the past only to come back for more].
Scene 64: She’s right of course. He isn’t quite dead.
She watches as he struggles out of the bag and sits up. As he launches himself at her, she waits until the last second and then ducks to the side and slams on the brakes. Michael is launched through the windshield.
She tells him to get up and watches him twitch back into action… again.
He struggles back up to his feet, looking comically like “Jezzus, what more am I gonna suffer with tonight from that bitch?” as Laurie sneers and puts the van in drive again.
She sends the van careening into him, while he grabs the window frame so they can stare meaningfully into one another’s eyes again. Laurie spins the wheel and sends the van, herself and Michael’s body over the side of the canyon.
Scene 65: The van tumbles down the embankment and Laurie is ejected bruised but surprisingly alright. Michael is less lucky. He’s ended up slumped over a log, where the rolling van corner smashes into his back… surely breaking his lower spine.
Scene 66: Laurie stumbles to stand up, and watches the van’s engine light up with Michael pinned on the other side. She goes to look in his face, stopping to very painfully pick up the axe that was also ejected from the tumbling vehicle.
Laurie tearfully calls her brother’s name and he picks his head up to gaze at her. He looks lost and confused until she snaps him out of it. He entreatingly holds out a hand to her. With Laurie staring to sob, she reaches out to hold his hand.
Until she looks into his eyes and sees that cold, murderous emptiness in them. Even now, with them like this, he’s still only got his one impulse to murder her in him.
She gives him a small laugh of disbelief that she nearly got close enough to him for him to grab her again. But not this time… and he won’t be back [Shut Up -- He WILL NOT be back].
Laurie winds up and lops his head off for him… killing him for good this time [FOR GOOD THIS TIME].
Laurie stands bruised, broken, but triumphant as the sirens close in again [TRIUMPHANT].
Commentary: I loved the way that Chris put so much into that gaze at Laurie. For just a moment, as they gaze at one another with their various injuries it was actually almost touching... and then the way the stare is held a little too long and you see the reptile slip back into place behind the mask. That was just some wonderful acting, since all that could be used was the expression in the eyes. I absolutely loved too how Laurie, even when she was feeling emotional over her brother, never got anywhere close enough for him to grab her... which is what I was expecting, and would've really been pissed off about. I really liked the way this whole final scene was played out between these two characters.
The Good: First and foremost is Jamie Lee Curtis reprising the role of Laurie Strode/Keri Tate. I love her, I love her character and I love how she remains vulnerable but tough and determined, even though she's deeply damaged.
I also really liked Adam Arkin as Will, which suprised me a bit. And I loved the scene where Keri Tate finally tells Will everything.
Michelle Williams and Josh Hartnett both do some terrific work as Molly and John Tate.
I really liked that they brought back Nurse Chambers for the opening, but once again she wasn't around very long. But it was nice that although she made a bad choice for her survival, she wasn't really stupid about wandering her dark house when something was clearly wrong. And the sequence itself was tense and nicely filmed.
I was really taken with the acting between Josh and Jamie Lee and sort of wished that we'd had more of them together, especially once Michael's presence is known. I especially liked the acting in the scene when John Tate blows up at his mother in the middle of the street.
I just loved the chase scene of Molly and John by Michael that merges into the Laurie/Michael cat and mouse and final confrontation. And I love that Laurie wins out and Michael is demonstrably defeated [excepting a later horrible nightmare that we can forget about].
I also really loved the way that final scene played out with Laurie almost falling for Michael's outstretched, pleading hand... only to notice just how coldly cunning he's regarding her sudden emotionalism... and responding appropriately.
The Bad: I really hated the scene with Michael entrance onto the grounds. It's just stupid and doesn't make sense for Ronny to come up against this really weird circumstance and not call up to the main building, especially when he knows that his boss is ultra-paranoid. Plus, it's just too weird not to think that something is very wrong.
There is a huge plot hole with the entire premise of Michael conveniently choosing now - in regards to John's age matching Laurie's when Michael came for her - that isn't ever addressed after it's hinted pretty strongly to be significant.
The extended time spent with Charlie's false scares just to have him ultimately killed off-screen really irritated me. I think what really bothers me about it though, is how he's quickly and easily disposed of off-screen so we can spend our running time watching Sarah suffer and have the most gruesome things happen to her, instead.
The only part of the chase scene that rankles is the stupid dining hall scene where Laurie turns into an idiot and tries hiding under tables with nothing to shield her from being seen. Why would she quit running for this hiding place, of all of the doors in the building she could've ducked through instead?
Continuity is a problem when Laurie is fighting Michael in the same kitchen where two murders occurred and there isn't any blood to be found.
Other Thoughts: I won't list it in the bad, but I do have an issue with the middle of the film whenever we're not with Keri Tate/Laurie Strode. I don't have cause to care about John's friends and their usual "high school" hijinks. But we switch scenes enough to Laurie trying to deal with her past trauma that we can get through it without the fast forward button. We really could've used [and this is a complaint carried over from the original actually] another murder somewhere in the wide middle section of the film to break up dialog after dialog scene... especially when that dialog is spending time with the romantic and professional asperations of Ronny the Half-Ass Security Guard.
The weird focus on discussing Victor Frankenstein's responsibilities feels to pointed to be just a random scene, but the "moral" doesn't stand up to scrutiny as it might relate to Laurie, so I don't understand what the point of it was. It's ends up an empty, unneeded scene.
I'm bothered that we both never learn for sure that Will is dead, rather than just lying in shock and that there isn't any emotional scene in regards to his being left on the hallway floor. It also mildly annoys me that Ronny isn't killed off when there were multiple scene where he easily could've been including that stupid scene of Michael "being sly" to sneak onto school grounds.
The Score: Like with the first movie, I want to love-love-love the film, but it's flaws get in my way. While there is so much right with this one, the problems with the lagging middle section and the severe plot hole undermines the script.
3.50 out of 5 stars