Retrospective: 40 Years Since ‘Halloween III: Season of the Witch’ By Jesse Striewski

Unlike the majority of fans, my introduction to the Halloween franchise actually came long before I even knew the first thing about Michael Myers. I was rounding near ten years old, and my family had just finally upgraded to cable television for the first time ever when I was searching through the channels late one October evening to discover Halloween III: Season of the Witch.

It was probably playing on USA Network or one of those other channels like it at the time, and it was well into three quarters of the movie already. My very first impression of a Halloween movie actually had nothing to do with Michael Myers, but was of Tom Atkins stalking around a dark, desolate town, with a creepy synth-driven score from John Carpenter and Alan Howarth accentuating the overall eerie scene. I was hooked, and having no prior frame of reference, it did not matter to me who was or was not in the film, or the previous entries that came before it.

When Halloween III: Season of the Witch, directed by Tommy Lee Wallace, first dropped in theaters on October 22, 1982, it was meant to be the first of numerous anthology films centered around Halloween itself, rather than just a monster with a knife. But audiences were not quite prepared for such a drastic change at the time, despite the endless possibilities this concept could have brought (the film was a modest box office success, earning just over $14 million on a $2.5 million budget).

Atkins stars as Dr. Dan Challis, a middle -aged, divorced, drunken physician who gets drawn into a web of evil and destruction after a man dies on his watch at the hospital, clutching a mysterious Halloween mask manufactured by a company called Silver Shamrock. When the deceased man’s sexy young daughter (Stacey Nelkin) starts looking for answers, Challis is more than willing to assist her with the task (and then some).

A display of the fictional town portrayed in the film, Santa Mira, from Fantasm Orlando on 10/3/21 (photo by Brooke Striewski).

The two soon uncover that Silver Shamrock is the work of Conal Cochran (Daniel O’Herlihy), a Pagan warlock hell-bent on unleashing unspeakable evil across the world via the masks on Halloween night. It quickly becomes a race against time to prevent the madman from seeing his destructive plot through and causing harm to an untold number of innocent lives.

While it’s taken some time, Halloween III: Season of the Witch has finally reached a level of cult status it rightfully deserved. Last year at the Fantasm horror convention Orlando, FL, there was not only countless amounts of merchandise from the film for the eye to see, but I was lucky enough to meet Atkins himself (see photo below).

When asked why he thought the film has seen such a resurgence in popularity in recent times, Atkins simply said; “I don’t know why people love it so much, but it just seems to be becoming more popular every year!” His reply might have been modest, but I can easily point to the number of reasons why it’s not only my favorite Halloween film, but also one of my favorite horror movies of all time. Not only does it hold a special place for me for being my introduction to the series, it beautifully emobodied everything about the creepiest day of the year on a level that very few films in the genre have managed to capture before or since.

Actor Tom Atkins with (from left to right) *Rewind It’s* Jacob, Jesse, and Brooke Striewski at Fantasm Orlando on 10/3/21.

Film Review: Halloween Ends (Miramax/Blumhouse/Universal Pictures)

By: Jesse Striewski

So, Halloween finally ends, huh? For me, it was over twenty years ago when Michael Myers offed Laurie Strode (Jamie Lee Curtis) in 2002’s Resurrection, but that’s just me. Last year’s atrocious Halloween Kills had to be my least favorite of all the films in the franchise (next to only the Rob Zombie entries), but what can really be said about this latest installment that hasn’t already been said, and without giving away too much?

On the surface, it could just be considered an experiment gone terribly, terribly wrong. But there’s much to unpack here. And in the five days since its release, audiences have almost universally panned the film for the direction it takes. It starts out a basic origin story, highlighting the torment and eventual descent into madness of the bullied Corey Cunnigham (Rohan Campbell). The problem that exists – other than the fact that this takes away from the Michael vs. Laurie showdown that everyone was hoping for – is who is this character, and why in the hell should we even care about him?

The ensuing love story aspect between Cunnigham and Laurie’s adorable granddaughter Allyson (Andi Matichak) actually works in its own weird way, but feels better suited for another film entirely. But that aside, the rest of what is left is a heaping pile of metaphorical mess, clumped together by Director David Gordon Green’s would-be unique vision. Even the “kills” feel forced and largely unnecessary, if one can actually believe that.

Speaking of unnecessary, this entire newer trilogy that began in 2018 could have honestly just never happened and the world would not have missed a single beat. In fact, the best thing to even comes out of these films in my opinion has simply been the well-crafted John and Cody Carpenter (and Daniel Davies) composed music score, which was indeed the highlight of Ends (throwing in the Dead Kennedys’ “Halloween” during a party scene was a nice touch as well).

But you know where the music and storylines were even better? The original films. I’d much rather go back and re-watch Halloween III: Season of the Witch (my personal favorite, and yes that’s right, the one without Michael Myers) any day of the week. With that being said, keep an eye out for an upcoming 40th anniversary piece on the latter, dropping at the end of the week on Rewind It Magazine!

Rating: 1.5/5 Stars

Retrospective: 35 Years Since we had a ‘Night of the Creeps’ By Jesse Striewski

Long before mixing horror/Sci Fi with comedy became a trend, we had films like The Return of the Living Dead, House, Killer Klowns From Outer Space, and, one the earliest examples of its kind, Night of the Creeps. All of these films were inventive in their own unique ways, and are worth not only remembering, but a fair bit of analyzing as well.

Originally released on August 22, 1986, and directed by Fred Dekker (who also co-wrote the previously mentioned House, and would go on to direct The Monster Squad a year later), Night of the Creeps paired a stellar cast that included newcomers Jason Lively (National Lampoon’s European Vacation) and Jill Whitlow (Weird Science) with veterans like Tom Atkins (Halloween III: Season of the Witch). And to add an extra homage of nostalgia to the proceedings, most of the characters were each given surnames of other classic horror movie staples. For example; there’s a Romero, a Cronenberg, a Carpenter, etc…

The plot is really nothing revolutionary; alien slugs from another planet inhibit the bodies of people and turn them into zombies. Our heroes of course have to fight off these monsters in a college campus setting, navigating everything from sorority parties, to killer poodles. It never takes itself too seriously, yet maintains an unmistakable level of artistic creativity throughout the whole time. And while it failed to find an audience at the box office, it has since become a cult classic (rightfully so).

I first came across the film late one sleepless night in either middle or high school, and instantly loved it. Although it’s been sometime now since I last viewed the film, I still love its campy, midnight movie appeal. And it was all the more thrilling to actually meet Detective Ray Cameron himself, actor Tom Atkins, earlier this month at Fantasm Orlando, who is just as amazing as one would think (see photo below).

There’s many reasons why the films of yesteryear are remembered with such fondness; not only was the quality of the work itself better overall, flimmakers at the time were not hell-bent on getting across some biased agendas/opinions of theirs in the material (kind of like that garbage remake of Candyman). As with Night of the Creeps, what you saw is simply what you got….just a good old-fashioned, fun gorefest. There was nothing wrong with it then, and there’s still nothing wrong with it now in my book.

*Rewind It Magazine’s* (left to right) Jacob, Jesse, and Brooke Striewski with actor Tom Atkins – who played Detective Ray Cameron in the film – at Fantasm Orlando on 10/3/21.

Film Review: Halloween Kills (Miramax/Blumhouse Productions/Universal Pictures)

By: Jesse Striewski

I can’t honestly say I was impressed at all with the last Halloween film released in 2018; not only was it derivative and borrowed heavily from previous entries that it supposedly ignores (it was essentially a redux of 1998’s H2O), it asked us to accept far too many idiotic and implausible situations and concepts; from giving Laurie Strode (Jamie Lee Curtis) a daughter other than Jamie Llyod from parts 4-6, to the fact we’re supposed to believe that Michael Myers is somehow remembered as a great notorious figure (sure, we know who he is as an audience, but if we’re supposed to ignore the events from all of the sequels actually happened, wouldn’t he just be some guy who killed a few people decades ago, and not as revered of a murderer?). And then there was that ridiculous plot twist with the doctor assuming the role of Michael Myers for a second (don’t even get me started on that).

For a brief moment, I was actually intrigued and lost within the onset of Halloween Kills; the flashback sequences tackling aspects from that fateful Halloween in 1978 were admittedly interesting at first. If the whole film could have just somehow stayed in that reality, maybe something could have been salvaged here. But things quickly become a joke, and the updated treatment of the late Donald Pleasence’s Dr. Loomis in these flashbacks are some of the most insulting scenes ever put on screen.

And despite having the returning Curtis paired with other series alumni from earlier films such as Charles Cyphers as Leigh Brackett, Nancy Stephens as Marion Chambers, and Kyle Richards as Lindsey Wallace, it does zero to add to this dying series. Even having Anthony Michael Hall portray the character of Tommy Doyle from the first film was as out of place as it gets, and by the time it gets to the point of him leading an angry lynch mob through a hospital, chanting “Evil dies tonight,” it felt as though I was watching a parody of the Halloween films, similar to the likes of Sharknado. There’s no drama left for any of the characters to have, just mean-spirited intentions spewing awful dialogue.

The worst is how certain elements are treated; Myers is now an even more ruthless killing machine than ever, torturing his victims mercilessly in some of the most brutal fashions imaginable (at one point he repeatedly stabs a victim with multiple knives even after killing them). Any sense of suspense is taken away in place of more blood and gore in hopes of appealing to the lowest common denominator (and yet that’s somehow supposed to be better for us to see on screen than the gratuitous nudity once so prevalent in these films that has been replaced by by mindless bloodshed?!). The reason The Shape was so menacing to begin with in the original films was not because of the quantity of outrageous kills on the screen, but the motivation behind it.

But judging by the audience reaction on opening night, small details like these are trivial matters to them at best, and do not matter to them one bit. Where there should be screams during kills, there was plenty of hootin’ and hollerin’ instead. Even the most mundane situations were enough to invoke unfounded laughter (a woman picks up a wine bottle to defend herself?! What a hilarious concept!). But it quickly became clear I’m very much alone in not accepting these trashy new dumbed down incarnations.

The flimmakers could have actually done something different with the material here. Hell, it would have been better had they even took the route of 1982’s Halloween III: Season of the Witch (the best film in the entire series in my opinion, yes, even more than the original) and introduced an entirely new concept, instead of beating this dead horse of a storyline into the ground for so long. But director David Gordon Green has taken this franchise into unforgivable territory ALMOST as atrocious as the Rob Zombie remake films. But until we stop embracing regurgitated garbage being spoon feed to us like this, they will continue churning out soulless entries as long as we continue accepting them. We deserve better than this. Yes, evil really should die, along with this entire franchise (and yet, we still have at least one more film to endure next year).

Rating: 1/5 Stars