DVD Outlook: November 2014

With the Philadelphia Film Festival now behind me and having seen nearly all of the big November Oscar contenders, I skimmed over a list of titles arriving to DVD this month and was disappointed by the hefty number of mediocre films that highlighted the selections. My biggest suggestion would be heading to your local movie theatre and catching any of the fine offerings that are currently playing like Gone Girl, St. Vincent and Interstellar, or perhaps an upcoming releases such as Foxcatcher or The Imitation Game. However, if you aren't keen on the idea of overspending to see one of these films, then it's worth checking out October or September's DVD releases. Otherwise, here's what new in November:




Despite missing A Most Wanted Man (11/4) at Sundance this year, a big regret of mine looking back, I have every intention of viewing Anton Corbijn's spy thriller very soon. In one of Philip Seymour Hoffman's final roles, A Most Wanted Man follows a suspected terrorist who ends up in Germany and it begins to catch the interest of both U.S. and German secret agencies.

Two other movies I have yet to see are Disney's Maleficent (11/4), starring Angelina Jolie, and the romantic comedy What If (11/25), featuring Daniel Radcliffe and Zoe Kazan. Maleficent follows the beginnings of  the beloved Sleeping Beauty story by examining the untold transformation of Maleficent into the vengeful fairy who casts a spell on Aurora. As for What If, Radcliffe stars as Wallace, a man coming of a string of terrible relationships who unexpectedly meets Chantry (Kazan) and experiences an instant connection. The issue, though, is Chantry lives with her longtime boyfriend, which leaves Wallace scrambling around in the "friend zone".




There's another batch of films that I've seen, but didn't particularly enjoy. First up are 22 Jump Street (11/18) and Jersey Boys (11/11), you can read both reviews here. Although there was an outspoken love for the buddy cop sequel, I personally thought 22 Jump Street was far less funny than the first one and way too over the top, but this time around we follow Schmidt and Jenko on an undercover mission to college. With Clint Eastwood's Jersey Boys, we're given exceptional music and underwhelming performances in a story that's way too overextended for the big screen. I suggest seeing the Broadway show instead.

Other films I've seen include Let's be Cops (11/11), another buddy cop comedy that begins well but weakens late, The Giver (11/25), a visually stunning but softly told version of the hit young-adult novel of the same name, and Happy Christmas (11/11), featuring Anna Kendrick in a well-acted but relatively purposeless indie comedy.




Finally, there are a few more big-named titles that don't particularly interest me, but you should know are available. Frank Miller and Robert Rodriguez captivated audiences with their unique filming style in 2005, and the pair of directors returned in 2014 with their highly anticipated sequel, Sin City: A Dame to Kill For (11/18). Parents of young children will be thrilled to know that How to Train Your Dragon 2 (11/11) is currently available on DVD. And finally, adapted from a teen romance novel of the same name, Chloe Grace Moretz stars in If I Stay (11/18), the story of a comatose young woman trapped in an out of body experience as she fights for her life.

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Oscar Talk - Part 1

With about two month until that brisk Thursday morning in mid-January when Oscar Nominations will finally be announced, I've decided to take a look at how the 6 major races are taking shape. I still have around a dozen movies left on my 2014 wish-list, but over 80 other titles released this year are in my rear view. Therefore, lets dive into what we know and where the road to the Oscars could be going from here.

Best Picture

Best Bets

With the highest of praises out of the Toronto International Film Festival, I see The Imitation Game as the early favorite for Best Picture. While MANY critics are clamoring for Birdman by calling it the greatest film of this century, I feel that its story is too weak to propel it to victory (think last year's Gravity). Boyhood is so strong on so many levels and I would expect to see it in the finals. 

The Next Tier

Although I view Foxcatcher as the best film of 2014 (so far), being a grim tale is never as easy sell for the Academy and Gone Girl faces the same difficulty. The Stephen Hawking biopic The Theory of Everything is pure Oscar bait, so I feel pretty strong about its chances in the long run. Less likely titles with an outside chance include Christopher Nolan's hot new sci-fi release, Interstellar, as well as the Sundance Grand Jury winner, Whiplash.

Yet to See

Unbroken is the great unknown and many are expecting the Christmas Day release to shape most of the major races. A Most Violent Year could be an epic crime drama and we all know the Academy loves a good musical, so be on the lookout for Into the Woods. Two other darkhorses who could make a push in the race include American Sniper and Selma.

Best Director

Best Bets

No one can argue against the technological achievements of Alejandro G. Inarritu's Birdman, hence his frontrunner status in the Best Director race (once again, think Alfonso Cuaron and Gravity). Richard Linklater dazzled audiences with his groundbreaking work in Boyhood, and if The Imitation Game is as strong of a contender as I envision, Morten Tyldum will certainly find his way into the top five. 

The Next Tier

Bennett Miller (Foxcatcher) has an extremely reputable career and Christopher Nolan (Interstellar) has been overlooked in the past, making them both interesting names in the competition. I wouldn't be surprised to see David Fincher (Gone Girl) or James Marsh (The Theory of Everything) in the final group as well.

Yet to See

Angelina Jolie (Unbroken) is the big x-factor and any of J.C. Chandor (A Most Violent Year), Ava DuVernay (Selma) and Rob Marshall (Into the Woods) have an outside chances of sneaking into the finals.

Best Actor

Best Bets

Michael Keaton (Birdman) headlines a strong list of Oscar hopefuls that will most likely find their way into the final five. The other three performances are portrayals of real life figures featuring Benedict Cumberbatch (The Imitation Game) as English mathematician Dr. Alan Turing, Eddie Redmayne (The Theory of Everything) as physicist Stephen Hawking and Steve Carell (Foxcatcher) as the devious multi-millionaire John E. du Pont.

The Next Tier

Of the films I've seen this year I'd say Ralph Fiennes (The Grand Budapest Hotel), Bill Murray (St. Vincent) and Matthew McConaughey (Interstellar) are on the outside looking in, but still fighting for that final spot. Fiennes has to overcome being in an early year release and Bill Murray's role as a lovable grump hasn't picked up much steam since its release. McConaughey's performance was strong, but he could suffer from the year-after hangover since this tier realistically holds no chance of winning.

Yet to See

The chatter surrounding Timothy Spall (Mr. Turner) hasn't ceased and Oscar Issac looks fantastic in A Most Violent Year. Everyone's calling Angelina Jolie's Unbroken the December game-changer, which makes Jack O'Connell a dangerous player, and both David Oyelowo (Selma) and Bradley Cooper (American Sniper) are performances to look out for. 

Best Actress

Best Bets

We all know what Jean-Marc Vallee can do with a leading role, so Reese Witherspoon (Wild) seems like a major contender, along with other standouts like Rosamund Pike (Gone Girl) and Felicity Jones (The Theory of Everything).

The Next Tier

Since the Best Actress race contains a paper-thin crop of talent, Shailene Woodley (The Fault in Our Stars) is more so a name I'm just throwing out there rather than someone who I think will make the final cut.

Yet to See

There are quite a few female performances I'm eager to catch by the year's end. First is Julianne Moore's (Still Alice) turn as a woman experiencing early symptoms of Alzheimer's Disease. Many have already proclaimed Moore as the winner, but Amy Adams (Big Eyes) always delivers an Oscar-caliber role. Also keep an eye on Emily Blunt (Into the Woods), Hilary Swank (The Homesman) and Jennifer Aniston (Cake) as well.

Best Supporting Actor

Best Bets

From Farmers Insurance commercials to Academy Award frontrunner, J.K. Simmons (Whiplash) could be in for a huge awakening. He's outstanding and the role is big enough to warrant the win. His biggest competitors are Edward Norton (Birdman) and Mark Ruffalo (Foxcatcher), who both happen to fade in and out of their respective films. Finally, Ethan Hawke's performance in Boyhood was strong enough to round out the top four.

The Next Tier

If the fifth and final spot doesn't come from any of the films I haven't seen this year, then that means Charlie Cox (The Theory of Everything) will mostly join the group, or even a little more of a reach would be the highly touted Andy Serkis who many argue deserves to recognition for his CGI work in Dawn of the Planet of the Apes.

Yet to See

People have lauded Josh Brolin's turn in Paul Thomas Anderson's Inherent Vice and, with an uncharacteristically weak class, older statesman Robert Duvall (The Judge) could sneak into the race. Furthermore, the wait-and-see approach keeps names like Miyari (Unbroken), Academy Award winner Christoph Waltz (Big Eyes) and John Goodman (The Gambler) as intriguing possibilities as well. 

Best Supporting Actress

Best Bets

While all indicators point to Boyhood's Patricia Arquette as the early leader, I was most impressed with Emma Stone's work in Birdman. Keira Knightley (The Imitation Game) has worked her way into the final five as well, leaving two spots up for grabs. 

The Next Tier

Two other impressive performances that I've caught this year come from Carrie Coon (Gone Girl) and Laura Dern (Wild), both of which face an uphill battle with the names they'll be up against later this year.

Yet to See

Jessica Chastain (A Most Violent Year) is always magnificent and I anticipate her return to the final five. Another year means another Meryl Streep (Into the Woods) nomination ... usually, but Sienna Miller (American Sniper) and Carmen Ejogo (Selma) are formidable opponents we are anxious to see.

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Interstellar

Film: Interstellar

Starring: Matthew McConaughey (Dallas Buyers Club), Anne Hathaway (Les Miserables) and Jessica Chastain (Zero Dark Thirty)

Director: Christopher Nolan (Inception)

U.S. Release: November 7th, 2014 (Rated PG-13)

Genre: Sci-fi

Runtime: 169 minutes


Just as though his latest endeavor proposes, Christopher Nolan, the fearless filmmaker, has never shied away from pushing boundaries and venturing into the unknown. Love him or hate him, Nolan commands respect for the monumental standards he sets for himself and filmmakers all across the globe. And with today's official release of the writer/director's newest sci-fi adventure, Interstellar, Nolan has tackled his most ambitious feature yet.

Earth is dying. With corn as their last main source of food, violent dust storms sweep across the world effecting humanity's fresh air supply and compromising their chance of future existence. Former NASA pilot turned farmer Cooper (played by Matthew McConaughey) is led to the doorstep of a NASA revival facility and tasked with one very difficult decision. Either remain on Earth to wither away with his two children, Murph and Tom, or lead a team of scientists on a journey to the furthest reaches of outer space in order to find a new home for the human race.

Running at nearly a three hour clip, Nolan does a fantastic job of maneuvering his science-fueled story in countless directions in order to keep the film engaging for audiences. At the heart of Interstellar is a wonderful father/daughter story, but equally impressive are Nolan's suitably timed sub-plots that come and go throughout the feature. Nolan plants plenty of surprises and twists along the way that generate thought-provoking ideas of blind heroism vs. the natural human instinct of survival. In context they're all brilliantly handled and brought to the surface by a barrage of spectacular performances from leading star Matthew McConaughey all the way down to a brief cameo from Matt Damon. Although I'm skeptical that any of these performances will garner the level of recognition that they probably deserve, Interstellar would be a far less effective film without the exceptional work of McConaughey, Anne Hatheway and many others.

One honest downside to the film is the head-spinning scientific dialogue that runs rampant throughout the script. It's so prevalent that I wish I had watched a few more episodes of Through the Wormhole with Morgan Freeman or brushed up on my Neil deGrasse Tyson reading. However, Nolan has enough self-awareness to recognize his ambitious goals and refuses to deliver a thought-less account of space travel, even if a large amount of the content will soar over the typical moviegoer's head. But all in all, Interstellar overcomes its head-scratching immersion in science lingo to take the audience on a multi-dimensional journey, both literally and figuratively, that's nothing short of mesmerizing.

While it becomes much easier to point out and criticize plot holes regarding the film's "bootstrap paradox" than it is to create a captivating, nearly three hour, science-supported action adventure, I'd say that this round definitely goes to Nolan. Admittedly, in many ways Interstellar is a far from Nolan's most taut or complete feature, especially with a polarizing and mind-blowing third act that's guaranteed to summon its fair share of detractors. Yet, it can't be denied that Interstellar is a visually immaculate ride that should be savored for a multitude of reasons. And much like the environmentally battered civilization his film introduces us to, I hope that Nolan continues to remain unafraid to "go gentle into that good night".


Stars: 3 stars out of 4

Grade: B+


*** For a spoiler-filled recount of the film, I highly recommend this interpretation. I completely agree with everything the article had to say about Interstellar.

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Into the Woods (NEW) and The Gambler (NEW) Trailers

On Christmas day the Broadway musical Into the Woods will be releasing its theatrical adaptation from director Rob Marshall. As a modern twist to the famous Brothers Grimm fairy tales, Emily Blunt, Anna Kendrick and Meryl Streep star in this highly anticipated release. Check out the trailer for Into the Woods below.





Remakes continue their reign over Hollywood as 2014 welcomes Rupert Wyatt's remake of the 1974 classic, The Gambler. A couple weeks ago we were given a teaser red band trailer and now we get the theatrical version, which stars Mark Wahlberg as an English professor with his back against the wall after some high-roller gambling troubles leave a few loan-sharks demanding repayment. Early glances into The Gambler have moviegoers cautiously excited over the mid-December remake.

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Foxcatcher

Film: Foxcatcher

Starring: Channing Tatum (Magic Mike), Steve Carell (Crazy Stupid Love) and Mark Ruffalo (The Avengers)

Director: Bennett Miller (Moneyball)

U.S. Release: November 14th, 2014 (Limited - Rated R)

Genre: Drama

Runtime: 134 minutes


The sound of a single gunshot shook the city of Philadelphia this past Monday evening. While local residents sat safely in their homes, a packed house at the Prince Music Theater held their collective breath completely enamored with Bennett Miller's latest achievement, Foxcatcher. Miller's impeccable credentials speak for themselves. With two feature films under his belt, and both earning Best Picture nominations from the Academy Awards, Miller's Foxcatcher has all of the necessary ingredients for making it three in a row.

Channing Tatum takes center stage as Mark Schultz, a 1984 Olympic Gold Medalists in the sport of wrestling and someone who still manages to get lost in his older brother Dave's (Mark Ruffalo) shadow. But when a multi-millionaire named John E. du Pont (Steve Carell) invites Mark to move into his estate and lead a group of world-competitive wrestlers at his private Foxcatcher facility, Schultz graciously accepts and begins to branch out and form his own legacy. However, du Pont's powerful manipulation and stranglehold over Mark begins to escalate to the point where even peacemaker Dave Schultz can't stop an unfortunate tragedy from occurring.

Foxcatcher's cinematic prowess is evident on nearly every level imaginable. Bennett Miller's finely tuned and nuanced storytelling is a lost art in modern filmmaking. Subtlety is key, and the director carefully places every tiny detail in its necessary place in order to shape this spine-chilling tale of obsession and madness. Channing Tatum gives the performance of a lifetime in a role he seems destined to play. Standing toe-to-toe with his presumably Oscar-destined counterpart, Steve Carell, Tatum reveals a beautifully complex character. A physical beast with a burning desire for another Olympic Gold Medal and a young man determined to pave his own path in life, Mark Schultz is the last person you'd expect to be emotionally frail. Yet, Tatum captures this multi-dimensional character perfectly and, as a result, helps heighten an intentionally unbalanced and disturbing performance by Carell in a rare villainous role. Predatory and shrewd in nature, Carell's transformational role establishes du Pont's eerily reprehensible essence and, in many ways, carries Foxcatcher by itself.

In addition to a well-crafted story and a pair of superb leading performances, Foxcatcher rhythmically mounts an enormous amount of tension that builds like a symphony. Gradual and meticulous in its approach, what some may view as a slow-paced character study can also be described as a ticking time bomb waiting to explode. And when it finally does, your heart will burst out of your chest in one single instance. Similar in vibe to another slow-building and agonizing journey of impending doom with 2012's We Need to Talk About Kevin, Foxcatcher cloaks its rapacious themes with illusions of patriotism and grandeur. Everyone is in need of something, but as you sometimes come to discover in a real-life tragedy such as this, you must be careful what you wish for.

Foxcatcher is by no means a feel good story or a film you should seek out to enjoy, but rather a deeply insightful and provocative examination into one of our country's most perplexing crimes. Anyone fascinated by this national story is guaranteed to be utterly consumed from opening to closing credits. With Foxcatcher, Bennett Miller paints a perfect portrait of all his characters, an epic accomplishment that will undoubtedly stand as one of 2014's most prestigious films.


Stars: 4 stars out of 4

Grade: A+

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A Most Violent Year (NEW) and Chappie Trailers

All Is Lost director J.C. Chandor returns in 2014 with the highly anticipated Oscar hopeful, A Most Violent Year. The film follows an immigrant business owner (Oscar Isaac) who is forced to fight for his family and business during one of the most violent years in New York City history. Expanding on the release of its previous teaser trailer, A Most Violent Year appears to have all the makings of a viable Oscar contender.





2009's District 9 was an out of nowhere sci-fi masterpiece that really impressed me. Director Neill Blomkamp returns in March of 2015 with the science fiction dramedy Chappie. Dev Patel stars as an engineer of sorts who brings the most advanced robot ever seen into the world, Chappie. With the gift of an adapting understanding of the world and the ability to feel, Chappie looks to capture the hearts of us all. Comprised of equal parts Wall-E and Short Circuit's Johnny 5, the film looks both interesting and inspiring to say the least.

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The Theory of Everything

Film: The Theory of Everything

Starring: Eddie Redmayne (Les Miserables) and Felicity Jones (The Invisible Woman)

Director: James Marsh (Man on Wire)

U.S. Release: November 7th, 2014 (Rated PG-13)

Genre: Drama

Runtime: 123 minutes


Academy Award winning filmmaker James Marsh, best known for his popular documentaries Man on Wire and Project Nim, debuted his new biopic, The Theory of Everything, at the Toronto International Film Festival in early-September. The result was a shake-up in nearly all of the major Oscar races thanks to beloved performances from a pair of young up-and-comers, Les Miserables' Eddie Redmayne and the adorable Felicity Jones. And although I wasn't nearly as enamored with the overall final product as those in Toronto, the fact remains that The Theory of Everything has the staying power of a late-year Best Picture contender.

As a remarkably gifted doctoral student at the University of Cambridge in 1963, a young aspiring physicist named Stephen Hawking (played by Redmayne) discovers that he's suffering from a motor neuron disease (ALS) and is given only two years to live. Deeply depressed and feeling utterly hopeless, only the loyalty and devotion of a recent love interest named Jane Wilde (Jones) can keep Stephen motivated enough to continue his scientific pursuit of understanding the origins of the universe. Yet, many years after the two young lovers marry, Stephen's deteriorating physical abilities and Jane's tireless efforts at caring for their family prove to be the ultimate match for the couple.

Building a flourishing career upon the foundation of documentary filmmaking, it appears that very little changes with James Marsh's approach in The Theory of Everything. The director takes the audience through a realistically shaped journey with both of its lead characters who are brilliantly portrayed by superstars in the making, Eddie Redmayne and Felcity Jones. Redmayne, who was highlighted in my Top Rising Stars write-up back in May, accepts the daunting task of transforming the virtually paralyzed genius, Stephen Hawking, to the big screen, and he does so with remarkable ease. But don't be fooled, The Theory of Everything isn't just Stephen's story. The film also forces the viewer to relive the physicist's escalating physical limitations through the eyes of his wife, Jane. Hence, Felicity Jones' powerful turn as the rock of the Hawking household and a woman who valiantly stares down any obstacle even tends overshadow Redmayne's work by the closing credits. Make no mistake about it, though, both performances are equally deserving of all their praises.

While top notch portrayals clearly highlight this biopic, where the movie fails is in its pacing and lack of depth to Hawking's ideas and achievements in the science community. Rather than exploring the brain inside of this living genius who has soared past unspeakable odds, The Theory of Everything takes the safe systematic approach by following the presumed biopic template. Thankfully, Marsh receives exemplary performances that almost single-handedly support his relationship-driven narrative. While it's true that very few couples can admit to facing life-altering hardships comparable to those that Stephen and Jane had to endure, the couple's complicated marriage and unfathomable circumstances are vastly outstretched and inundated with glossed-over milestones. A more earnest approach would have been to examine the daily grind associated with a loved one suffering from ALS. Instead, The Theory of Everything stumbles along from checkpoint to checkpoint giving it a somewhat artificial feel.

The talent surrounding James Marsh's The Theory of Everything is magnificent, and the film is almost certainly going to stand out as the feature that elevated both Redmayne and Jones' careers to new heights. However, the true mark of a great film is to counterbalance transcending performances with an equally effective story, which doesn't happen here. For people with any knowledge of Hawking's personal life, The Theory of Everything will open very few doors into the unknown of the man at its center. And for someone as groundbreaking and exceptional as Stephen Hawking, that just doesn't feel acceptable.


Stars: 2 and a half stars out of 4

Grade: B-

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Ranking the Halloween Series

Happy Halloween everyone! This is always the best time of the year. World Series baseball is wrapping up, the NFL season is in full swing and horror movies are running rampant. Oh how I wish October would never end. Scary movies were my introduction to film. At an early age I developed an obsession with feeling frightened thanks to classics like A Nightmare on Elm Street and Friday the 13th. However, nothing quite left its mark like Michael Myers and the Halloween franchise. As a loyal fan and someone who has seen each film of the series, through the good times and the bad, I've decided to devote October's Movie List of the Month to ranking each Halloween film from best to worst (click here for September's List). I hope you enjoy.

#10. Halloween III: Season of the Witch (1982)

Following an unforgettable hospital scene at the conclusion of the original Halloween II where Dr. Loomis blows the building to smithereens, the powers that be hoped to take the franchise in a new Michael Myers-less direction. The result was a horrendous tale of a Halloween mask-making company with evil plans of killing as many people as possible during the holiday. I mean seriously, what's a Halloween movie without Michael Myers?

#9. Halloween II (2009)

I was as upset as anyone at news that Rob Zombie was planning on re-inventing my beloved horror franchise. But in all fairness, I didn't hate his first installment (I did have my issues with it, though). However, when Zombie released his sequel in 2009, the finished product was absolutely terrible. Michael returns to Haddonfield to find his sister and the deadly slashing continues, but what was with all the imagery  and that white horse? Absolutely ridiculous and unforgivable on Rob Zombie's part.

#8. Halloween: Resurrection (2002)

After decades of chasing his baby sister, Laurie Strode, in 2002's Halloween: Resurrection Michael Myers finally kills her off and then puts down his knife to return home for a peaceful retirement. Yet, upon his arrival back to Haddonfield he finds a reality television crew taping a haunted online episode in his home. Michael isn't too happy with this and once again goes on a murderous killing spree in the house he knows best. This 8th installment to the franchise ignored Myers' previously revealed curse and goes in its own direction, making it one of the weaker films in the series.

#7. Halloween 5 (1989)

Taking place only one year after the fourth film, Halloween 5 features Michael Myers quickly returning home to take care of his niece Jamie Lloyd (Laurie Strode's daughter who was later adopted) once and for all. Unlike any other movies in the franchise, Halloween 5 attempts to implement a small amount of comedy with its dopey police officer characters, like many other horror movies of the late 80s, but to no avail. The story takes a wild path with almost a telepathic connection between niece and murderous uncle, but Halloween 5 is still a decent watch.

#6. Halloween (2007)

In 2007 Rob Zombie completed a lifelong dream of bringing his own re-imagining of the beloved horror franchise to life. Zombie's goal was to show Michael Myers from a young age being the "perfect storm" of sorts, growing up with both internal and external forces that drive him to murdering his sister on Halloween night. While the film as a whole was solid and terrifying, Rob Zombie's Halloween was a huge deviation from John Carpenter's originally crafted tale. I never liked how Zombie felt the need to generate reasons for Michael's villainous origins. Sometimes it's just scarier to think that people are capable of such actions without any explanation at all.

#5. Halloween: The Curse of Michael Myers (1995)

Although you may have never known this, the 6th installment of the franchise starred a young Paul Rudd in one of his first feature films ever. Six years has passed since Halloween 5's cliffhanger conclusion that left audiences and fanboys scrambling to make sense of the finale. All those questions were answered in Halloween: The Curse of Michael Myers where the franchise labeled Michael Myers' desire to murder his family members as an ancient curse of Thorn marked by the symbol on his wrist. Despite a semi-ludicrous storyline, the film delivered enough legitimate scares and murder sequences to appease its loyal audiences.

#4. Halloween H20 (1998)

Paying homage to the franchise's origin and making some beaucoup bucks in the process, a 20 year anniversary film pitted Jamie Lee Curtis as Laurie Strode against her murderer brother once again. Halloween H20 also included performances from many young stars including Michelle Williams, Josh Hartnett and Joseph Gordon-Levitt (in a brief death scene). While Halloween: Resurrection was a laughable continuation with how it altered this film's intended ending, at the time H20 was a very strong addition to this classic horror franchise.

#3. Halloween 4: The Return of Michael Myers (1988)

After a disappointing 3rd installment that alienated fans of the series. 1988 re-introduced the "Boogeyman" to audiences. As one of the strongest features in the franchise Halloween 4 watched Michael Myers return to Haddonfield to kill his niece, Jamie Lloyd. Unaware of the serial killer's presence in their small town, Myers disposes of almost the entire police department and forces the sheriff to safely board up Jamie and a bunch of others in his house. With just about no way in or out of the home, their safety is compromised since they unknowingly locked Michael inside with them. Overlooking a head-scratching finale that was initially intended to redirect the franchise yet again, Halloween 4 proves to be a fantastic scare-fest.

#2. Halloween II (1981)

Part of me feels that it's unfair to make a distinction between the two initial Halloween films. Being born in 1983 the first two features always felt like one long combined story. Seeing that the take place on the exact same night, Halloween II watches as its villain hunts Laurie Strode all the way to the hospital where she is being treated for her wounds. SPOILER ALERT: It's also this film where the audience finally discovers that Laurie is Michael's sister, a huge revelation to the story that ultimately sets up the entire franchise. Halloween II is a non-stop slasher pursuit bombarded with amazing kill scenes and an equally eerie tone as the original. 

#1. Halloween (1978)

Greatness can almost always be traced back to its origins, and the same logic applies to this iconic series of film. John Carpenter's Halloween set the slasher-movie bar and still remains as one of the most profitable features ever released ($300,000 budget and $47 million box office). We witness the transformation of a young six year-old boy into a murderer after brutally stabbing his sister to death with a kitchen knife. Then, after 15 years institutionalized by the courts, a 21 year-old Michael Myers returns to Haddonfield and terrorizes a local babysitting on Halloween night. Halloween changed the landscape of horror films and remains as a classic piece of cinema to this day. If you want to experience a spine-chilling birth of evil, than look no further than John Carpenter's Halloween. 

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