An Alternate Reality: I saw Halloween (2018)...

Sooner or later, Michael Myers, aka the Shape, would return. It was merely a matter of how and in what context. 

The new "Halloween" (endorsed per reassuring publicity by the original's co-creator John Carpenter) is directed by David Gordon Green ... scripted by Green, Jeff Fradley, and Danny "Alien: Covenant" McBride. They make the '78 movie its foundation, establishing (through an instructive, character exchange) that the classic's offshoots and retelling are no more than urban legend. This bold tactic twists "Halloween '18" into a full-fledged, alternate-reality, sidesteppin' sequel. 

Horror fans have encountered this stunt before. "Jaws: the Revenge" is a parallel "Jaws 2", and "The Texas Chainsaw Massacre" franchise hit the restart button more than once.

In "Halloween '18", the story picks up forty years after the night that Myers (played by James Jude Courtney, with a little, suggestive help from the original Shape, Nick Castle) attempted to kill Jamie Lee Curtis' Laurie Strode. In this alternate chapter, we learn that Strode has long awaited the day, or more precisely the night, that Myers would return to Haddonfield, IL, and in rifle-pumped, Sarah Connor fashion is prepared to bring him down. 

One might argue that the novelty here is Curtis' re-entry into the series, but "H20" and "Halloween: Resurrection" promoted her presence as much, if not more so. Been there, done that.

Similarly, though Donald Pleasence's Sam Loomis is no longer available to chase Myers, he's been replaced by a twinkling-eyed counterpart, Ranbir Sartain, played by Haluk Bilginer, and to share Loomis' legacy of intensity, there are crime investigators Aaron Korey, played by Jefferson Hall, and Dana Holmes, played by Rhian Rees. These passionate intellects dare to probe, ruminate and debate what makes our Kirk-masked madman tick (something that Loomis' peers were more inclined to do), but that won't snuff Myers' urge to escape: a more than reasonable, plot retread and still, nothing new. 

As with prior films, we're given a helpful, been-there-done-that policeman, Frank Hawkins (Will Patton). Strode again has family referenced: her daughter (Judy Greer), son-in-law (Toby Huss) and granddaughter (Andi Matichak). It feels right that the ensemble reflects past participants, except that in this version, Myers isn't Strode's brother. Nevertheless, in determined, brotherly fashion, he slashes his way to get to her ... again, again and again.

With these generous overlaps, what does distinguish "Halloween '18", beyond being a third "II"? Well, it really comes down to the approach.

"Halloween '18" isn't hindered by non-stop, horny teens (though there's a confined brush of such) or garrulous interludes: Let's face it, kids today generally make love to their phones, not each other, and as for those beat-it-into-the ground, waste-of-time misleads ... please! "Halloween '18" is tight and blunt, with the cat-and-mouse battle between seniors taking center stage. 

Michael Simmonds' photography works to the scenario's advantage: ominous and in an ironic way, consoling, invoking Carpenter's first and Rob Zombie's remake/sequel. Variations of Carpenter's famous music triggers the suspense. The scares are as calculated, if not sometimes obvious, but what the hell? Slasher fans know the routine and wouldn't have it any other way.

Like previous "Halloweens", this one is conclusive and yet implies a continuation. (Call me crazy, but I desire something that ties Conal Cochran's Silver Shamrock masks to Myer's.) Don't expect an Oscar out of this (though in truth, "Halloween '18" is superior to most Academy darlings, including the cliched "The Shape of Water"). This chapter is best taken as a sentimental reunion, warmed with vengeful violence.  

Myers and Strode are pop-cultural staples. They should never fade away. They never can. Even if this one doesn't end up your favorite sequel (though don't be surprised if it does), you'll still find your autumnal time well spent.