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OCTOBER HORROR 2018 - Halloween 2018 by EyeOfSemicolon OCTOBER HORROR 2018 - Halloween 2018 :iconeyeofsemicolon:EyeOfSemicolon 30 1 OCTOBER HORROR 2018 - Gremlins 1987 by EyeOfSemicolon OCTOBER HORROR 2018 - Gremlins 1987 :iconeyeofsemicolon:EyeOfSemicolon 16 0 OCTOBER HORROR 2018 - Evil Dead 2 by EyeOfSemicolon OCTOBER HORROR 2018 - Evil Dead 2 :iconeyeofsemicolon:EyeOfSemicolon 18 0 OCTOBER HORROR 2018 - Creepshow 1982 by EyeOfSemicolon OCTOBER HORROR 2018 - Creepshow 1982 :iconeyeofsemicolon:EyeOfSemicolon 25 0 OCTOBER HORROR 2018 - The Stepfather 1987 by EyeOfSemicolon OCTOBER HORROR 2018 - The Stepfather 1987 :iconeyeofsemicolon:EyeOfSemicolon 10 1 OCTOBER HORROR 2018 - Silent Night, Deadly Night 2 by EyeOfSemicolon OCTOBER HORROR 2018 - Silent Night, Deadly Night 2 :iconeyeofsemicolon:EyeOfSemicolon 10 2 OCTOBER HORROR 2018 - Silent Night, Deadly Night by EyeOfSemicolon OCTOBER HORROR 2018 - Silent Night, Deadly Night :iconeyeofsemicolon:EyeOfSemicolon 12 0 OCTOBER HORROR 2018 - From Beyond, 1986 by EyeOfSemicolon OCTOBER HORROR 2018 - From Beyond, 1986 :iconeyeofsemicolon:EyeOfSemicolon 17 0 OCTOBER HORROR 2018 - A Nightmare on Elm Street by EyeOfSemicolon OCTOBER HORROR 2018 - A Nightmare on Elm Street :iconeyeofsemicolon:EyeOfSemicolon 18 3 OCTOBER HORROR 2018 - Friday the 13th 1980 by EyeOfSemicolon OCTOBER HORROR 2018 - Friday the 13th 1980 :iconeyeofsemicolon:EyeOfSemicolon 16 1 OCTOBER HORROR 2018 - The Shining 1980 by EyeOfSemicolon OCTOBER HORROR 2018 - The Shining 1980 :iconeyeofsemicolon:EyeOfSemicolon 256 18 OCTOBER HORROR 2018 - Pumpkinhead 1988 by EyeOfSemicolon OCTOBER HORROR 2018 - Pumpkinhead 1988 :iconeyeofsemicolon:EyeOfSemicolon 21 1 The Age of Want ignites by EyeOfSemicolon The Age of Want ignites :iconeyeofsemicolon:EyeOfSemicolon 22 1 OCTOBER HORROR 2018 - Howling II 1985 by EyeOfSemicolon OCTOBER HORROR 2018 - Howling II 1985 :iconeyeofsemicolon:EyeOfSemicolon 17 1 OCTOBER HORROR 2018 - The Howling 1981 by EyeOfSemicolon OCTOBER HORROR 2018 - The Howling 1981 :iconeyeofsemicolon:EyeOfSemicolon 28 3 OCTOBER HORROR 2018 - The Blob 1988 by EyeOfSemicolon OCTOBER HORROR 2018 - The Blob 1988 :iconeyeofsemicolon:EyeOfSemicolon 16 2





OCTOBER HORROR 2018 - Halloween 2018

“Happy Halloween, Michael.”

Well, it’s that time once again. Halloween, the day that we continue to ever build up towards with ever October Horror, and the day that fills me with a lot of excitement. It is also the time that I go back to a series that is somehow still alive despite being killed of so many times. It’s the franchise about a psychotic slasher whose entire on-screen history is convoluted and is about as insane as he is: I’m talking about Michael Myers, and the “Halloween” films. In the pat October Horrors I’ve gone through the first 3 films of the series. I found the first film to be a classic that worked effectively in using horror; the second film was a flawed, though entertaining sequel that muddied what was a simple story; and the third to be my favorite, and what would have been a welcoming change had it not been for audiences at the time. Through those films I’ve always made a joke on how I must review this films, not only for the namesake of the holiday but additionally as a series-long punching bag. To my knowledge there aren’t any other franchises that come to mind that has been rebooted and remade as much as Halloween, with attempts to wash away the bad sequels that seem more laughably disappointing than the bad sequels of any other horror franchise. However, while I’ve made jokes and certainly aired my disappointment before you all, it doesn’t mean I absolutely hate “Halloween”. Most of my comments outside the proper reviews is some fun on my part, and although I do have my disappointments toward the series it doesn’t take away from how hopeful I am towards it. Like I said, the first “Halloween” film is practically perfect, and while one the one hand I wished it had ended with just the first and went on with the anthology plan, I do hope for a great, satisfactory sequel that makes use of what the original made worked. Well, it seems “Halloween” 2018 is that very film.

The reboot/sequel to the original 1978 film, 2018’s “Halloween” is a welcomed attempt to both return the series to its roots while also wiping away all the unnecessary plot additions from 2 and onwards. Michael Myers has returned to his purest form: an emotionless, practically robotic killer who is almost animalistic in his hunt for victims to murder. Gone are his ties to any cults or familial connections with Laurie Strode, the latter topic even being mentioned and shut down as quickly as it is brought up in the actual movie. All Michael is now is just a killer, and while that may sound utterly simplistic, it is where the series was at its most strongest and horrific. Making him a mute, merciless killer returns the mystique to the character, more so than any idea of the supernatural ever could. However this isn’t just Michael’s film, as it is also Laurie Strode’s. As if to celebrate the return of the leading actress Jamie Lee Curtis for one more go, this film is very much Laurie’s, and her story is not only fascinating, but also depressing and yet at the same time triumphant. A lot of work and love is put into this film, and I think I and a lot of fans were hopeful to see where it goes. It’s clearly an attempt to truly end the series in a proper bang, but the question still stands: is it any good? Well here’s my review.

It’s been 40 years since that terrible night on Halloween, when Laurie Strode became the only survivor of Michael Myers’ killing spree. Ever since that night, Michael Myers has been locked away at an asylum; professor Loomis, Michael’s doctor, has passed away; and Laurie Strode has spent her life in fear, knowing that she can’t ever rest so long as Michael is still alive. The decades have been extremely unkind to Laurie: her daughter has distanced herself away from her mother for the years of paranoia and preparation for a boogeyman that never came; her story has faded away into a bad memory, and fewer people are kind towards her trauma; and she has essentially become a prison of her own fear, locking herself in a fortified home meant to keep away the same killer that hunted her so long ago. Now Michael Myers is being sent to a stronger, more secure prison, which would keep him locked up much better than the old asylum. However, as Halloween night approaches once more, a desire builds up in Michael. It’s time for his escape, and to once again inflict devastating terror upon the town of Haddonfield, Illinois. This time though, Laurie is ready. As much as the townsfolk dreaded for this day to ever happen, she has secretly hoped it would come; just so she may personally put the killer down for good.

I’d like to open up with what this film does best outside the horror, and that’s the character drama. A good portion of the film is focused on the drama surrounding Laurie Strode, her family, and her own personal issues. It’s at its purest form a story of trauma: how we deal with it, how others react to it, and how it deals with us in return. I found myself sympathetic and invested into Laurie’s personal issues, in how she pushed away her own daughter with her fears, and is unable to let go despite a part of her wanting desperately to do so. Jamie Lee Curtis’ performance is award-worthy, in my opinion. Her moments of weakness in revealing how she has let Michael ruin her life is tragic, and there are times when the film showcases her trauma so well. I especially enjoy how the film doesn’t absolutely vindicate her fears. While it’s easy to point at her character and say she’s been right from the beginning, the film does a great job in showing that while she is in need of care for her problems and is right in her preparedness against Michael, it is still in sacrifice of her own well-being, that of her daughter who was made almost as paranoid and sick as her mother, and how she has locked herself away from the world as an unfortunate consequence. Of course this tragedy serves the triumph, when Laurie is given a chance to act and to truly fight Michael. Just as you feel sad for what had happened to her, you also feel excited when she takes out her guns, her traps, and her wits to give the roaming killer a hard time to earn his kill. I love how aware she is of some horror tropes, and how she doesn’t waste time in calling out the idiocy of other character’s when they should know better. Additionally, I kept cheering at times when she read Michael’s mind, and played to any plans a slasher would use in any film. Laurie Strode is a badass character, who is also capable of being dramatic. She is what audiences want to be when they face a horror movie slasher, and it’s amazing.

Just as amazing is the horror, which like I said is a return to the roots of the original. Michael Myers comes off as genuinely brutal in this movie, and doesn’t go too far into the gratuitous shock of the Zombie remakes. The kills are (for the most part) is presented with as much realistic violence as possible, with a dark, serious tone that casts over a lot of the kills. He wrecks his victims in ways that get a strong reaction of horror, and what’s great is that the film shakes things up with being more subtle and quiet with some scenes. A couple of early kills are done completely in the background, almost difficult to spot yet still shocking when you do finally notice. There’s a long string of kills, backed by the classic tunes of the Halloween franchise, that feels straight out of the original in both tone, camera perspective, and editing. We also get one kill that has an immense amount of build-up, that almost has no music and is cleverly done through the use of porch lights automatically turning on and off to Michael’s movements. Whether they are homages to the original or completely new kills for this movie, they are the best in the series in terms of how scary they can be. There’s a couple for you gore-hounds looking for the most gruesomely awesome kills, but they aren’t the majority for this movie. I found the horror of this film to be truly great, and I think you can really get the feeling of the terror that Michael brings to Haddonfield.

Going into acting, it’s natural for a huge majority of characters though I think the writing can be poor for some. As I’ve said, Jamie Lee Curtis brings her S-game to this movie. She doesn’t just put a good performance, rather she is putting her best as an older, experienced Laurie Strode. Her drama is effective; her action is fantastic; and I would certainly consider this the last, great act for the character. She no longer is simply a victim, but a full character that is the clear lead alongside, and not under, Michael Myers. The family members for Laurie are great too, with some even shining above even my initial expectations. Judy Greer as Laurie’s daughter Karen is good, as someone who has some tragedy herself in how her childhood was essentially robbed by her mother’s paranoia, and how she’s fighting to at least give a normal life to her own family. While she plays a bit like the sympathetic mom character in a lot of old horror films, she makes some surprisingly great development as the film concludes. Laurie’s granddaughter Allyson, played by Andi Matichak, is almost the typical high school survivor character in a horror film, but she’s enjoyable in her care for Laurie, and how she deals with some issues going around her. Although I felt that her character was getting wasted during the movie’s conclusion, almost an opposite to Greer’s.
Michael gets a new doctor, played by Haluk Bilginer. He’s no Donald Pleasence, but he does quite well as the one man trying to understand Michael. Although he doesn’t have much of an appearance throughout the movie, his contribution is interesting to say the least without going into spoiler-territory. There’s also the sheriff hunting Michael (Will Patton), who is a good ally to Laurie and a character you can root for when he tries to stop the killer. You have plenty of other secondary characters and extras, who do a fine job with the performances they give.

Lastly there’s the slasher himself, Michael Myers, who is credited to have been played by James Jude Courtney, and a veteran from the 1978 original, Nick Castle. Myers is presented gloriously, with a darker edge that is kept grounded unlike the remake. He doesn’t utter a word, and is given this consistent presence of terror that gives his figure power. Even in the early scenes where he’s without a mask, you can still feel afraid with how unfeeling he is just by his stance and presentation alone. When he does finally get that mask, it’s both an amazing proper return of the character and a sign of terrible things to come. There’s very few moments where he’s shown to be weak, even at times where he’s on the losing end at the time. The filmmakers did their best to make the character as unmercifully evil and statue-esque in his behavior, and I feel that they did a perfect job.

The cinematography captures the mood amazingly, with both stable camera shots and hand-held, shifty movements. I like a lot of the shots in both the action-packed horror moments and the somber dramatic ones. The night is done quite nicely, which is very important for this movie; I feel like some scenes are fantastic looking, and make good use of shadow and lighting.

On another technical aspect, the effects are impressive and often times subtle. A lot of it is clearly done with practical effects, and the make-up/props are realistically presented for a majority of the movie’s runtime.

The music is both a welcome of the beloved classics and a good mixture of new tunes. I like the theme and how it’s utilized, and some of the dark themes that follow Michael around are effective in establishing suspense. It’s great that the movie isn’t bombarded with music from beginning to end, with plenty of silent scenes. The silence really adds to the horror moments, and for some in particular it’s extremely strong. It’s great, and I have no issues.

Speaking of issues, do I have any? Well, while I do enjoy a lot of the references made throughout the movie, I do feel that they get too numerous and blatand as the film starts to end. It’s great for a lot of it, but it gets a bit too awkward in some places. The scenes following Allyson is fine, and I do think that the teens do act genuinely like teens; however, I have groaned at some of the teenage drama that is shown, and wanted only for the horror to return again. When it’s a horror or an actual drama, the film is fantastic bordering on perfect; otherwise, it’s either ok, or not that interesting.

If I can’t make my thoughts any clearer, than here it is: “Halloween” 2018 is a fantastic film. It’s the best sequel we can ask for, and I think the perfect way to end for the entire series. I want this movie to be the conclusion to the Michael Myers story, with no chance at a remake or any further sequels. It’s so great that I genuinely want no more of it the franchise to be made, and I think that should say something. Go see it, you won’t be disappointed I assure you of that much.

OCTOBER HORROR 2018 - Gremlins 1987

“Well, that’s the story. So if your air conditioner goes on the fritz, or your washing machine blows up, or your video recorder conks out; before you call the repairman, turn on all the lights. Check all the closets and cupboards, look under all the beds, ‘cause you never can tell… there just might be a gremlin in your house.”

Look, I’m sure a lot of you are probably asking how I could rightfully place this movie in with everything I’ve covered for October Horror. “It’s a family movie”, “it’s a cartoonish comedy”, “there’s nothing really scary about this movie” is among the many excuses I’ll hear for why I shouldn’t include it. However, I think you’re all missing the point on why exactly I want to include this: it IS a comedy, but it’s also a horror movie.

As I mentioned with “Evil Dead 2”, the 80’s was a time of horror comedies. Plenty of great and memorable films that mixed horror and comedy together found success at this time, and a lot tried to balance those two seemingly conflicting genres. Same with “Gremlins”, but from there is something of an ingenious bit of trickery. “Gremlins” advertises itself as a family movie with a cartoonish edge, but by doing this it not only hides its horror effectively, but it makes them stronger as a result. It’s what makes the film so great. It combines horror elements with the comedy, and when it needs to it can be very funny… and likewise, very scary. There is gore, and there are some admittedly terrifying moments; and because a good portion of the film is presented as a “family movie”, it comes when you least expect it. After all, as I’m sure many who grew up with films like “The Witches” and “The Neverending Story” in their childhood can assure you: even seemingly innocent films can be horrifying.

So I hope I’ve given enough of a reason as to why I’ll be covering this. I know it’s a stretch, but I think for a film as complex in its mixture of genres can’t be held down by only one. It’s neither pure comedy or horror, but where it is pure is in how great it is. Here’s my review.

Billy Peltzer is a young man living in the town of Kingston Falls, trying to get by between some financial hardship and some trouble at his job. The holiday season though is bringing some cheer, and just before Christmas he’s given a gift by his inventive father. From a small chinatown shop came something called a Mogwai, a furry, tiny bear-like creature with big ears and a high-pitched voice. Named Gizmo, it makes for a cute pet for Billy, but it comes with three, extremely important rules: 1, it hates bright lights, and sunlight is strong enough to kill it; 2, it mustn’t be given any water, not even as a drink; and 3, the most important rule of all, is to never feed it after midnight. Billy promises to be very responsible, but over time he discovers new things every time a rule is broken. For one, mogwai’s multiply when they get wet; and if they are fed after midnight, they develop disgusting cocoons, transforming them into vile, cruel little gremlins that love having fun at the expense of everyone and everything around them. Now Billy must stop these things, before they grow in number and run all of Kingston Falls into a chaotic frenzy.

As I said in the opener, this movie tricks you into thinking it is just a regular family movie. Much of the first half has a very Spielberg feel to it, which makes sense considering he was the executive producer. There’s this air of innocence throughout the first half, from the music to much of the acting. You get some nice heart-warming moments with Billy enjoying his time with Gizmo, along with a bit of comedy and wackiness in other scenes. It’s the type of stuff you’d expect from any family film, especially at the time. However, things change drastically as if from day to night when the gremlins enter the picture.

Slowly at first, the film builds up some suspense of something wrong. The reveal is given enough time to simmer, getting you interested in what’s coming and how bad it’ll be for everyone once the trouble starts. When the action does begin, it does so without any pulled punches. There’s some genuine horror moments, with some intense scenes and kills involving the first group of gremlins to appear. These instances of horror come and go, sometimes infused with comedy but other times can be powerful on its own with the scares. What makes the comedy and the horror work so effectively is that it’s all spread out, allowing some breathing room between the scenes. You’re given a break between the horror moments, and so when they do come in it’s a lot more powerful; same with the comedy, as well stuff like the drama. It’s the best way to make the frights and laughs work, and it’s what makes the movie so great at whatever genre it leans towards at the time.

The acting is really great, and it does a fine job switching between wacky comedy, terror, and everything in between. Zach Galligan as Billy is a  fantastic lead. You get invested into his attempts to stop the gremlins from destroying the town, and feel for the connection he builds between himself and Gizmo. Phoebe Cates as Kate is also great, and I enjoyed seeing her with Billy whenever their romance blossomed. There are plenty of secondary characters that are enjoyable, from Billy’s inventor father, his badass mother who manages to deal with a gang of gremlins, and the ever-awesome Dick Miller as Mr. Futterman. There’s some good comedy with a lot of these characters, and they all get a moment to shine. I don’t think I ever saw a problem with the acting in any way, and I believe it works perfectly for a film of this tone.

Of course I can’t rule out the animatronic actors. Gizmo, voiced by Howie Mandel, is adorable. He’s cute, funny, and very expressive, and is one of the best parts of the movie. He brings a lovable charm to this film, and is very difficult to hate. Of course there’s the other side of the animatronics, a much larger cast voiced by the likes of Frank Welker, Michael Winslow, and Peter Cullen: the titular Gremlins. Obviously the highlight of the film, the gremlins are mischievously violent but immensely fun. Their personality is outrageous, and they’re almost as expressive as Gizmo, with some like Stripe and a select few other Gremlins being much so. They have some good horror moments though, especially in the middle and end of the film. Even though you can get some laughs, their creepy design and cruel nature still provides some terror. From top to bottom, from human to the animatronic, the performance work for this film is high in its quality.

Speaking of animatronics, they’re impressive even to this day. While there are some works of puppetry that stands out more clearly than others, it’s still amazing how well animated Gizmo and the gremlins are in this film. There are moments of puppet-work and stop-motion that comes off as natural, and reacting to the environment in ways that an animal would. The facial work for some gremlins is great, but it’s Gizmo that is the most expressive. His looks of glee, sadness, shock, and courage are clear in their communication, and it effectively makes Gizmo a character of his own. The practical work behind these little creatures is praiseworthy, and one of the many great examples of why effects actually put in front of the camera can do far more than computers could. Outside the puppets, there’s some other neat effects. Stuff like gore, the pulsing cocoons, the deaths, and other things are done nicely, and work just as well as the puppetry in how they convey what they want on screen. I could sing praises for the effects for a long time, but I think I can stop here.

The music works well with the moods it plays to throughout the film. Somber tunes are soft and get the drama across quite well, and the little comedic melodies in both the bombastic and the cheery are nice. The soft music that plays in the heart-warming moments are lovely, and very memorable and thematic to the film. Although it stands alongside the as memorable Gremlins theme song, which is both awesome and chaotic in its synthy tunes and mixture of gremlin sounds. I feel that the orchestral work for the movie is done quite outstandingly, and I can honestly say that I still get a kick from listening to that theme song even long after seeing this movie.

If you haven’t somehow seen “Gremlins”, do so any chance you can. It’s earned its place as a classic, and does a fantastic job in being both a comedy and a horror. Don’t let its cheery look and charm fool you; even though the movie can make you laugh, it still has enough terror to scare you. Check it out, it’s a huge recommendation.

Unfortunately lost time due to work and holiday family stuff. Last 2 October Horror reviews move to tomorrow.
Either way. Have a happy Halloween, enjoy yourselves, and stay safe. Cheers.
Work got in the way. Double feature for Halloween. It’s Halloween 2018, and something a bit different.


EyeOfSemicolon's Profile Picture
Oscar Rodriguez
Artist | Professional | Digital Art
United States
I am an illustrator, one who has taken time to learn the history and works of many great artists like Peter Paul Rubens, Albrecht Durer and Rembrandt, as well the modern works of Banksy, and comic artists like Frank Miller. I'm still learning, everyday in fact, trying to balance traditional works like painting and drawing with their digital counterparts.

I've written, though not professionally, and I hope to someday bring my own story out to the public, and in whatever medium I feel would be necessary for it.

I am available for Commission work, will work primarily in the digital medium, and will always remain respectful to colleagues, followers, and great artists alike.

Send a note my way if you got questions or want tips, or if you're interested in doing epic roleplay stories.

Hey all, I hope you're enjoying the building festivities to one of the best holidays: Halloween.

As a reminder to those who have gone through this, and an introduction to those new, I run a yearly thing called OCTOBER HORROR: my personal variant of Inktober, which is an event that has artists draw every single day of the month of October as a way to improve their abilities, to get some daily drawing done, and to work alongside other artists in this great challenge. OCTOBER HORROR, however, is a bit different. Every single day of October, from the first day to the 31st, I'll be watching a horror movie as my own way of celebrating all the good and bad of the genre. Additionally, I not only catalog those movies with a daily drawing, but I also give a brief review of each film as a way to share with you all this monumental tradition of mine, and as well to hopefully recommend some films to watch in your own time. We not only look at the best horror films that have come around, but as well the bed, and from every decade that the genre has spanned. This means both the newest hits to come in the current year, as well the classics, the oldies, the schlocky-camp, and about a dozen more bad films that fail to scare you.

This year's OCTOBER HORROR, however, will be special for 2 reasons.

1, it will be the year that I celebrate 100 films reviewed under this event. After the first 7 days, I'll officially have 100 horror films reviewed through OCTOBER HORROR, and with that I hope to continue even further to cover more films with each following year.
2, I'll be doing this in dedication to the newest member to my family, my nephew Kai. As of August of this year, I've become an uncle, and as per the wishes of my sister I will be devoting a week to films featuring creepy and evil children. Films like "The Omen", "Children of the Corn", and "Children of the Damned" among others will be covered during this week.

So the planned schedule is as follows:
For the first 7 days (October 1-7), I will be covering my all-time favorite horror films. These will be films, in no particular order, that I have enjoyed the most. They can be new or old, good or even bad, but in the end these are some of my most favorite films. Understandably I won't be covering every film I like, as some have already been done in previous OCTOBER HORROR entrees. Still, I hope you'll enjoy some of my recommends.

After that, the next 7 days after that (October 8-14) will be covering the children of horror. As stated above, these are films that feature a child or child-like being as the main antagonist of the film. These can be a single murderous child, a group of crazed children out for blood, or someone or something that looks like a child. Bottom-line, if the film is trying to make a 10 year-old scary, it's worth covering.

Next will be 2 full weeks, plus a couple days (October 15-30), on your selection of theme. We won't be going too in-depth with theme selections, as I will be spending some time preparing a move. So I will be putting into vote a large spanning theme based on 2 differing, yet somehow identical, Decades of horror. In an upcoming poll, I will be putting the two following theme choices:
80's SCHLOCK-A-THON: A look into horror movies that populated the 80's, which gave tropes like over-the-top gore, iconic slashers, countless sequels, and a whole lot of synth music.
THE 2010 NEW WAVE: A chance for me to cover new movies that have made the rounds in the genre, with a lot of self-awareness, experimentation of the genre, and a surprisingly similar amount of synth music.

This then ending on our yearly punching bag, and the only film franchise that can be perfectly covered on Halloween night itself: HALLOWEEN 4: THE RETURN OF MICHEAL MYERS.

For the 4th year in a row, I'm happy to once again do the rounds in covering horror films for a whole month.

CHEERS! And hope you all have an enjoyable Fall.

Rare opportunity: Should I cover the new 2018 Halloween on Halloween night, or stick to my original plan of covering Halloween 4? 

31 deviants said Do Halloween 2018
10 deviants said Do Halloween 4


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