H2 血染萬聖節

Contrary to expectation, the new “Halloween II,” directed by White Zombie vocalist Rob Zombie, is by no means scary as the rocker-turned-movie director attempts to develop his boogeyman's character. Zombie directed a remake of the original “Halloween” in 2007; this sequel is his second stab at the franchise, in which he removes the killer's mask.

Without a doubt, the film still delivers the foundation level of gore by dispatching victims in violent and disturbing cold blood. If all you want is a body count, “Halloween” surely delivers.

But while serial death is a major part of Zombie's “Halloween II,” this isn't enough to make up for the rest of the formulaic story.

Any uncertainties of the movie genre are affirmed as the sequel begins, when a car transporting the presumed-dead Michael Myers (Tyler Mane) crashes into and kills an innocent cow, quickly followed by further brutal and agonizing deaths.

Meanwhile, the physically and psychologically scarred survivor Laurie Strode (Scout Taylor-Compton), Myers' sister of the original “Halloween,” still resides in Haddonfield, Ill. What is believed to be the Myers' corpse is en route to Haddonfield and toward Laurie, to be joined by Myers' psychologist Dr. Loomis (Malcolm McDowell), returning there by way of a book tour.

“Halloween II” is shot in more subdued tones than its predecessor, and more death scenes are cut, hacked and sliced by the editing process than by the killer himself. Nothing in the film comes close to suspense or tension, but even cheap thrills seem to get botched in every other scene.

Interestingly, director Zombie's band White Zombie is well known for its horror film influences, particularly songs about surreal horror fantasies, and Zombie certainly leaves his mark on the film. Zombie's wife Sheri Moon Zombie, who was also in the 2007 remake, reappears aside a white horse as the late mother of Michael and Laurie, calling the two characters' sanity into question. It's a device that lets the director keep his wife on the payroll, while indulging in surreal superfluities more appropriate in his own music videos. He's also able to increase the movie's body count (sometimes in dream sequences), without really adding anything to the story.

Nearly every single horror scene in “Halloween II” is spoiled by split-second cuts that become increasingly irksome as the film progresses. Like the characters themselves, the scenes are schizophrenic, threading complex dream-sequences into reality. Quick cuts with little warning make for arduous viewing.

Zombie keeps his motives vague: do the dreams represent an extrasensory link between Laurie and Michael? Or the slow deterioration of Laurie's sanity? Or Michael's warped concept of pilgrimage?

While the murders certainly are vicious, the repetitive slaughter and overwrought sound effects and camera angles ultimately make the deaths forgettable. Everything looks extremely ugly, filthy and dreary thanks to 16mm film stock and dim lighting; as a result, a lot of the footage was difficult to make out. Watching a slasher film, the audience should at least be able to see the gruesome scenes.

All in all, the movie is far too disjointed for my liking – a good horror film needs more than poorly lit killings with a storyline and characters that are more than just warmed over pop psychology.

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