Editorials
[Butcher Block] ‘Halloween: The Curse of Michael Myers’: Gory Theatrical vs. Myth-based Producer’s Cut
Butcher Block is a weekly series celebrating horror’s most extreme films and the minds behind them. Dedicated to graphic gore and splatter, each week will explore the dark, the disturbed, and the depraved in horror, and the blood and guts involved. For the films that use special effects of gore as an art form, and the fans that revel in the carnage, this series is for you.
Of all the detours and artistic liberties taken with Michael Myers’ story in the Halloween franchise, none of the films are as strange as the sixth entry of the series. Coming on the heels of the universally panned Halloween 5: The Revenge of Michael Myers, the franchise seemed to be at a crossroads. Then there were legal battle issues over the series, eventually leading to Dimension Films purchasing the rights. From there, several scripts were rejected until the hiring of writer Daniel Farrands, who expanded the Cult of Thorn in depth from its brief mentions in previous films. Michael Myers then became less of a boogeyman and more of a mindless murder puppet by way of evil curse placed upon him from his youth thanks to the mysterious Cult of Thorn.
The Curse of Michael Myers didn’t just completely alter Myers’ motivation and trajectory, but it also wasted no time killing the protagonist from the previous two films, Jamie Lloyd. Dimension didn’t really care if actress Danielle Harris came back for the role, so Lloyd was played this time by actress J.C. Brandy. The move lessened the impact of Lloyd’s unceremonious demise in the film’s first act. Farrands’ extensive Cult of Thorn mythology seemed to be at odds with the film Dimension Film had in mind, which was in turn at odds with that Moustapha Akkad’s production company had in mind, leaving director Joe Chappelle trying to appease everyone.
The lack of cohesive vision and departure from the formula fans had long been familiar with, the test screening obviously didn’t go so well. Attendees of that screening took major issue with the ending, in which the Curse of Thorn guardian role was passed on to Dr. Loomis. As a result, the film was then rushed into reshoots. Thus, Halloween: The Curse of Michael Myers became two movies; the original Producer’s Cut in all of its Cult of Thorn glory (or infamy), and the cut that was released into theaters, with the gore and slasher elements emphasized and a lot of the cult stuff trimmed out.
The first major change between the versions was the death of Jamie Lloyd. In the Producer’s Cut, Michael stabs her and leaves her for dead. She survives long enough to be brought to the hospital, where her coma dreams reveal more cult exposition and that Michael is the father of her baby. Yup, they went there. She never wakes from her coma. In the theatrical cut, Michael impales Jamie on a corn thresher. When she taunts him that she won’t give him the baby, he turns the thresher on in a gruesome, violent disembowelment death.
Pretty much all of the deaths in the theatrical cut unleash the gore. The death of jerk father John Strode (Bradford English) may win the prize for the series’ most over the top death of all as the inexplicable impalement on an electrical box that proceeds to electrocute him until his head explodes. This death was the favorite to create by special makeup effects artist John Carl Buechler (Halloween 4: The Return of Michael Myers, Friday the 13th Part VII: The New Blood) and Brett Hardin (Hatchet). They acknowledge it doesn’t make a lick of sense, but it’s a really fun kill regardless. Hardin can be spotted in the climax on screen as a doctor getting brutally slaughtered by Michael.
John Carpenter’s original films were minimal on the bloodshed, though, which means that if you’re a purist the theatrical cut doesn’t work either for its emphasis on bloodlust. The Curse of Michael Myers is a strange film, no matter which version you watch. The exposition-heavy dive into the weird world of cults that changes everything we knew about Michael Myers, or the exposition-lite slasher where Michael Myers is at his goriest but narratively unfocused. What does make worth the watch, at least once, is Donald Pleasance committing fully once again to series’ pillar Dr. Sam Loomis. Even when battling illness through what would become his final film, Pleasance always gave Loomis his all, no matter where the story took his character.
Where do you sit on this sequel? Team Producer’s Cut or Team Theatrical? Or neither?
New month, new horror recommendations from Deep Cuts Rising. This installment features one random pick as well as four selections reflecting the month of May 2024.
Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.
This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.
Scream, Pretty Peggy (1973)
Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.
Directed by Gordon Hessler.
The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.
Admittedly, Scream, Pretty Peggy isn’t difficult to figure out; its inspiration is obvious. However, Bette Davis’ overstated performance and the son character’s macabre artwork are enough to stay tuned and learn who’s behind the killings.
Scream, Pretty Peggy is now available on physical media from Kino Lorber. Perhaps watch the movie with your own mother this Mother’s Day (May 12).
Paganini Horror (1989)
Pictured: The ghostly killer in Paganini Horror.
Directed by Luigi Cozzi.
For National Buy a Musical Instrument Day (May 22), check out this absurd Italian entry in the subgenre of cursed music horror. A rock band unleashes hell when they unknowingly use a satanic piece of music composed by Niccolò Paganini, the violinist who was rumored to have made a Faustian deal.
Even though Paganini Horror is hardly deemed a standout of Italian Horror, and the movie indeed drags itself toward the finish line, there are some bright spots worth focusing on. For instance: Donald Pleasence. If that’s not enough, the very ’80s aesthetic helps gloss over the flaws in Daria Nicolodi‘s uneven script.
Paganini Horror is now on physical media from Severin Films and is also streaming on SCREAMBOX.
Nadja (1994)
Pictured: Suzy Amis Cameron and Karl Geary in Nadja.
Directed by Michael Almereyda.
These vampires may or may not cast a reflection, but they sure do love to reflect. David Lynch executive-produced as well as briefly appeared in the film, which Roger Ebert succinctly described as “Deadpan Noir” in his review. This tale of revenge and philosophical pondering begins with the vampiric namesake (Suzy Amis Cameron) seducing the daughter (Galaxy Craze) of Van Helsing after he killed Nadja’s father, Dracula. From there a war erupts between the two sides, all while taking place in modern NYC.
Nadja is quite slow but also just strange, stylish and creative enough to keep your attention. In addition, the trip hop soundtrack is easy on the ears, and Peter Fonda plays a memorable Van Helsing. Overall, this is a unique and artsy approach to vampire horror.
Nadja is now streaming on Freevee.
The Bone Snatcher (2003)
Pictured: Scott Bairstow, Warrick Grier and Rachel Shelley in ‘The Bone Snatcher’.
Directed by Jason Wulfsohn.
For National Sunscreen Day (May 27), dig up the monster movie The Bone Snatcher. It will take more than a high SPF to protect the sunburned characters here; they are stuck in a South African desert with a bizarre monster called the Esikhulu.
The best things about The Bone Snatcher are its setting and the creature. This beast, which is brought to life on screen using a combination of practical and digital effects, sports a ghastly design to go with its unnerving ability to animate skeletons. Something else this movie has going for it is a refusal to show the monster too often; that way there is less chance of becoming desensitized to the Esikhulu. Ultimately, this has nothing on John Carpenter’s The Thing, however, those more forgiving fans of Syfy-ish creature-features should be satisfied.
The Bone Snatcher is currently streaming on Tubi.
#1 Serial Killer (2013)
Pictured: Jason Tobin in #1 Serial Killer.
Directed by Stanley Yung.
May is AAPIM, and the subversive #1 Serial Killer (originally titled Chink) is relevant when discussing the “Invisible Asian” notion. Acknowledging the irony, Stanley Yung’s movie has gone widely unnoticed despite its potent take on race and identity.
Jason Tobin (Warrior) delivers a compelling performance as the vile protagonist here. The self-hating, Ted Bundy-admiring character discriminates against other Asians after years of mistreatment and disregard, and that growing rage finally manifests as cathartic violence.
#1 Serial Killer is currently available at digital retailers like Apple.
No genre is as prolific as horror, so it’s understandable that movies fall through the cracks all the time. That is where this recurring column, Deep Cuts Rising, comes in. Each installment of this series will spotlight several unsung or obscure movies from the past — some from way back when, and others from not so long ago — that could use more attention.
‘Infested’ Review – One of the Best Spiders Attack Horror Movies in Years
‘The King Tide’: An Island Town Rots with Moral Decay in Canadian Folk Horror Fable [Review]
Limited Edition Morticia & Wednesday Addams ‘Monster High’ Dolls Releasing Next Week!
TWO New ‘Evil Dead’ Movies Now in the Works; Sébastien Vaniček & Francis Galluppi Directing
5 Deep Cut Horror Movies to Seek Out in May 2024
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