Halloween II (1981)

Before discussing Halloween II, it is worth acknowledging one unavoidable reality. Following a film as sublime as John Carpenter’s Halloween was always going to be a thankless task. Any sequel was destined to suffer by comparison. Expecting another masterpiece was unrealistic from the outset.

Viewed in that context, Rick Rosenthal’s Halloween II acquits itself surprisingly well.

The film picks up immediately after the events of the original, with Michael Myers somehow surviving yet again and continuing his relentless pursuit of Laurie Strode, now recovering in hospital. Along the way the film introduces one of the most significant additions to the mythology by revealing that Laurie is in fact Michael’s sister — a development that would shape the franchise for decades to come.

Rosenthal deserves considerable credit for maintaining much of the visual style established by Carpenter. The prowling camera movements, the point-of-view shots and the sense of Michael as an unstoppable stalking presence all remain largely intact. There are moments when the film genuinely feels like a continuation of the original rather than a hastily assembled cash-in.

Where the sequel differs most significantly is in its approach to violence.

Carpenter’s original was remarkable for how little gore it actually contained. Terror was generated through suspense, atmosphere and anticipation. Halloween II embraces a more graphic approach, with several killings presented in a far more explicit fashion. The film relies more heavily upon shock and brutality to achieve its effects and in doing so loses some of the elegance and restraint that made the first film so extraordinary.

That said, many of the stalking sequences are superbly handled. The hospital setting proves an inspired choice, creating a maze of dimly lit corridors, empty wards and shadowy rooms through which Myers drifts with terrifying determination. The second half of the film contains several genuinely frightening moments and remains among the strongest examples of the slasher genre.

There are, however, some baffling creative decisions along the way. The prolonged close-up scenes involving Laurie undergoing medical treatment seem oddly indulgent and contribute little beyond padding the running time. Likewise, the film occasionally falls back on the standard slasher formula of punishing the young, attractive and sexually active characters with particularly unpleasant deaths.

Despite these shortcomings, the film is never dull. Once the inevitable disappointment of discovering that it is not another Halloween begins to fade, it becomes easier to appreciate it for what it is: an exceptionally effective slasher film in its own right.

Indeed, it remains superior to many of its contemporaries and compares favourably with much of the Friday the 13th series. It may lack the artistry, atmosphere and groundbreaking impact of Carpenter’s original, but it compensates with strong suspense sequences and a consistently threatening Michael Myers.

The film stumbles somewhat during its closing moments. Myers’ repeated ability to survive seemingly fatal punishment pushes the character closer to the realm of the supernatural and undermines some of the grounded menace that made him so frightening in the first place. It is here that the series begins to drift toward the increasingly implausible territory that would plague several later sequels.

Nevertheless, Halloween II remains one of the strongest entries in the franchise. Until the arrival of Halloween H20 nearly two decades later, it stood as the best sequel by a considerable margin.

No sequel was ever going to rival Carpenter’s masterpiece. Judged on its own merits, however, Halloween II is a tense, frightening and highly entertaining slasher film that succeeds far more often than it fails.