Last Updated on July 23, 2021
THE BLACK SHEEP is an ongoing column featuring different takes on films that either the writer HATED, but that the majority of film fans LOVED, or that the writer LOVED, but that most others LOATH. We’re hoping this column will promote constructive and geek fueled discussion. Dig in!
HALLOWEEN III: SEASON OF THE WITCH (1982)
Directed by Tommy Lee Wallace
“Halloween III is more entertaining, better constructed, and more frightening than the majority of other horror movies. ”
All right, so this choice might be a tad on the clichéd side with it being Halloween and all, but it doesn’t change the pick. Halloween III: Season of the Witch is the type of movie the Black Sheep loves: hated by critics and the majority of movie-going fans (3.8 on imdb, 28% on Rotten Tomatoes). Why? Well, some might bitch about the second-rate acting. Some might despise the special effects. And some might think the story is f*cking stupid.
But perhaps it’s because of the missing marquee element that made the franchise. Yes, Mr. Michael Myers never appears (minus on TV) as he remained in death for this outing. Or maybe it’s due to missing its female lead, the emotional connection for the audience. Maybe the missing British shrink ruined it. Everything that made the series an instant classic was suddenly gone for the second sequel. And you know what, I wouldn’t have it any other way.
Halloween III is a great moment in movie history, and it’s pretty amazing to think about the massive, elephantitis-sized balls it took to not only remove a franchise horror icon (granted they were only two movies into the series), but to also remove it from the genre it helped define. It’d be like replacing Batman with the tale of a pudgy accountant. Or Terminator minus any sci-fi machines. Or moving Moby Dick inland and without a whale. That’s what’s called a bold new direction. And in this case, it worked.
Halloween III marks the final installment with supervision by creator John Carpenter, who decided to spin the series into a Twilight Zone direction with stories centered around the dark holiday of Halloween. Gone would be the slasher formula. Instead, the movies could have done anything as long as folks got killed during the fall season around late October. It was a hell of an idea. Just imagine if it had been more successful. How long would have audiences stuck around for theme-based movies, not a simple rehashing of ideas that all horror follow-ups use? We’ll never know, but at least we’ll always have this wonderful little ditty about love, murder, little kids, and Halloween masks.
Tom Atkins stars as a doctor who wants to get to the bottom of the mysterious death of his friend. His investigation leads him to the town of Santa Mira, which just happens to be the home of the company of Silver Shamrock, producer of all things Halloween. The longer he stays (with a little help the daughter of his dead friend), the more he hears about a mysterious Mr. Conal Cochran, who rules his factory and the town from behind the tinted glass of a Cadillac. The result is a mystery movie filled with gallons of blood and numerous deaths as Mr. Cochran’s employees, dressed in sharp suits, crush some skulls and twist some fools heads off. They’ll do whatever Cochran asks them to do without thought.
Of course, we discover there’s a reason for their unquestionable loyalty which it classic 1980’s and fits into a constant theme in nearly all movies from the decade: robots. Yes, these are Data-like guys in Matrix-like suits. It really doesn’t make sense, but who cares? It works. Besides, this film really stands out for the death toll, and boy they do die. Sure, it’s not exactly Saw level mayhem, but the movie offers variety, from explosions, to lasers, to eye gouging, to a deception. All in the name of good fun.
Now it appears the majority of movie fans feel all this adds up to a craptastic flick, but I disagree. Halloween III is more entertaining, better constructed, and more frightening than the majority of other horror movies. In fact, it even contains a swell contribution to pop culture via the false commercial that runs repeatedly throughout: “Eight more days to Halloween, Halloween, Halloween. Eight more days to Halloween, Silver Shamrock.” Damn thing just keeps running throughout, which only adds to the wonderful pacing and atmosphere created by Carpenter and his right-hand man and director Tommy Lee Wallace. Anyway, with Carpenter’s involvement, the music remains an important part of the feature, especially when the keyboards flair up. But it’s that catchy, unrelenting false jingle that helps add a layer of eeriness that’s equaled in only a handful of films.
Oh, and for those keeping score at home, this is my second straight column featuring Mr. Carpenter, so if you didn’t already guess, I always equate Halloween with him. Not because of the obvious film title similarities, but because his run as the Master of Horror will always remain intact. Whether you like the guy or not doesn’t matter. It’s if you’re smart enough to admire his massive balls and his ability to unleash quality horror.
Disagree? Get the DVD and discover for yourself.
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