Editorials
The Joy & Catharsis of ‘Halloween H20’
The violence of the last decade has been practically insurmountable. Every day, there seems to be another attempt to destroy democracy and turn the United States into a full-blown dictatorship. You could argue it’s already here, and you wouldn’t be wrong. When the 2024 election results were called, declaring Trump the president for the second time, my heart dropped in a way it never had before. I was gutted, because I paid attention and knew what was going to happen. The last year has been nothing but a whirlwind of destruction and chaos. I didn’t think I’d survive, but horror has been a safe space where I can retreat, find joy, and get some much-needed catharsis. Steven Miner’s Halloween H20: Twenty Years Later has been that refuge, a place I can call home and wash away the anxieties of the day.
Halloween H20: A Defining Theatrical Experience
I first saw the film when I was 12 years old. I recall that evening perfectly. I’d begged my mom to take me to the theater to see it. I’d grown up with John Carpenter’s 1978 classic and the sequel–fun fact, my little kid brain never knew and/or realized that 3-6 even existed until later, doh! I was buzzing with excitement. We got a big tub of popcorn, some Coke, and settled into our seats. We were near the back, and the theater was absolutely packed. The crowd jumped in all the right spots and gasped in all the right spots. And the reaction I remember most came with the ending, when Laurie Strode finally chopped off Michael Myers’ head. The applause. The cheers. The goosebumps. To this day, that moment remains the best ending to the franchise–sorry, Halloween Ends, I love ya, but Halloween H20 did it better. (Halloween Resurrection doesn’t exist.)
These days, I look at the film through the lens of a much greater conversation, as a mirror reflection of the world today. It’s not just some slasher flick. It’s changed shape for me over the last 28 years (my god, I am old!). Laurie Strode, as played by Jamie Lee Curtis, is emblematic of the marginalized, always fighting against an oppressive system. But Laurie also resembles the role white women play in a patriarchal society in how they frequently vote against their own interests because they believe they are untouchable. Who cares if others suffer? In Halloween H20, Laurie finally wakes up from her nightmare-like haze and realizes that for things to change, she must intentionally put her body on the front lines.
Frankenstein, Responsibility, and the Cost of Inaction
As Molly (Michelle Williams) points out in the classroom about Mary Shelly’s Frankenstein: “I think that Victor should have confronted the monster sooner. He’s completely responsible for Elizabeth’s death because he was so paralyzed by fear that he never did anything. It took death for the guy to get a clue. Victor had reached a point in his life where he had nothing left to lose. I mean, the monster saw to that by killing off everybody that he loved. Victor finally had to face it. It was about redemption… it was his fate.”
It’s the fighting back–prevalent throughout the film–that brings such joy and gives me real hope for the future of this very weird and very depressing timeline in which we find ourselves. In the opening, Marion Chambers (Nancy Stephens) returns in a big way. After discovering the dead bodies of her neighbor Jimmy (Joseph Gordon-Levitt) and his buddy Tony (Branden Williams), it’s fight, flight, or freeze for our favorite nurse. In a moment of sheer determination, she grabs a fire poker and slams it into the back of Michael Myers’ head. Police lights bounce off his white mask, but his eyes are now dead-set on Marion, who puts up one helluva fight and gets a few good licks in before he slices her neck. It sucks that she died, but it’s joyous seeing her fight to the death. She isn’t about to go down easily. That spirit carries itself into the film’s main plot and doesn’t let up until the end credits.
Less Blood, More Emotion: A Different Kind of Slasher
Halloween H20 also relies far less on a high body count, unlike all the other sequels. Instead, it focuses on Laurie’s emotional reckoning. After John (Josh Hartnett) and Molly (Michelle Williams) find Sarah’s (Jodi Lyn O’Keefe) lifeless body swinging from a light fixture, they come face to face with pure evil. The film then really kicks into high gear. Like Marion, Molly proves to be as much of a fighter. When Michael stabs John in the leg, she picks up a rock and knocks Michael to the ground like a bowling pin. The chase scene, one of the best in horror history and one that doesn’t get nearly enough credit, raises the stakes. Michael forces his giant butcher’s knife through the iron-wrought bars and slashes within inches of their faces–fun fact: a real knife was used, and the fear on their faces was very, very real. The moment ends when Laurie sees John and Molly through the porthole window, unlocks the door for them to escape, and reunites with her brother after 20 years.
That confrontation triggers the franchise’s best final act. The “MICHAEL!” scream lives within the walls of the horror pantheon–the “Halloween” theme makes it even more special. There’s the fire extinguisher! The axe! The flag pole! The whole drawer of knives! The stabbings until Michael tumbles off the banister! But the real iconic moment comes when Laurie sneakily clutches the axe, now laid across a cop car, snatches a policeman’s gun, and hijacks the coroner’s van. She puts the pedal to the metal and vrooms out into the darkness. Michael comes ripping out of the body bag and attempts to strangle Laurie, but she instinctively brakes, and he goes flying out of the windshield. Running him over, he grabs onto the window frame, and Laurie just smirks.
Laurie Strode’s Victory and Breaking the Cycle of Violence
“Even if I die, he must die,” she seems to think. The van goes rolling down a massive, forested hill. Michael crashes into an overturned tree, and the now-destroyed van crushes him. Laurie, face battered and bruised and bleeding, clenches the axe and walks up to him. “Michael!” she says. For a fleeting moment, she extends her arms, perhaps hoping that he could have been a real brother. But it’s short-lived. She smiles, takes one big, full-chested swing, and chops his mother-fucking head clean off. It rolls into the camera’s view. And it’s done.
Laurie Strode triumphantly faced and slayed her monster. It took her 20 years, but she ate. She looked down the barrel of the gun and said, “Not today, Satan!” She could have very easily died, but that was a risk she was willing to take. In one full swoop, she ended the cycle of violence once and for all. That victorious conclusion serves as a reminder that we all have the strength inside of us to conquer our demons. We just have to wake up and see the world around us. It might take some time, but we can and will ultimately cut off the head of the dragon. We have to be patient, vigilant, and unwavering. It’s the only way.
Halloween H20, Hope, and Finding Strength in Dark Times
All these years later, Halloween H20 still gives me sheer ecstasy, knowing that dawn always breaks after the darkest periods of our existence. Trump won’t be alive or president forever, even if that means a full-blown revolution and overthrowing the government. He will either die or be removed from office. I can’t tell you how many times I’ve watched this movie–easily hundreds by now–and I’m always reminded of this fact: Trump’s reign of terror will, undoubtedly, come to a vicious end. Halloween H20 fuels me. It empowers me. It brings me immense joy. And it gives me hope that tomorrow will be better. I’ll make sure of it.
People hate It: Chapter Two. Unlike many horror sequels or poorly reviewed releases that gain popularity in time, the film has seemingly gained more notoriety. Maybe it’s the occasionally goofy CGI, the heavy comedy, or just how overstuffed it is, but everyone is really down and out on it. Still, though, I will defend this movie like a member of the Losers Club defending their Ka-Tet (deep-cut King reference for you constant readers).
But why, though? Objectively, the movie can feel overstuffed. The CGI is a little goofy. Well, despite all this, I believe It: Chapter Two captures the pure essence of the book. It captures the heart, the terror, and metaphors about small town America excellently…even better than the first one.
It: Chapter Two Is the Ultimate Stephen King Movie
Listen…I am a simple man. If you have this much pure Stephen King energy in a movie, I am going to love it. Why King fans did not grasp onto this movie, I do not know, because it is probably the most “Stephen King” Stephen King movie ever.
We have the small, Maine town and characters from the book, yes, but also a fantastic cameo from the big man himself. Seriously, this movie is like Avengers: Endgame for constant readers (even though Castle Rock is technically more of a crossover). The movie has the heart, small-town summer feeling, and aesthetics for a King film to the max. Whether that is a positive or negative depends on the viewer, but constant readers can relish in how set the movie is on capturing King’s Americana.
It: Chapter Two Understands the Stephen King Novel
Yes, the movie is sillier than the first installment. It’s technically less proficient and cleaner than its predecessor. Still, this movie just generally captures both the message and energy of the book. Don’t get me wrong, It (2017) is excellent in that it feels like a haunted house walkthrough. There are lots of different entities Pennywise dresses up as to attack. It’s colorful, fun…but it takes a lot of liberties. This is fine, but It: Chapter 2 painstakingly portrays the deeper undercurrents and plot beats of the novel.
The Horror Beneath It: Chapter Two
It has always been a story about the darkness behind America’s suburban facade. Behind all of the killer clown and creature feature/cosmic fun, it is about how America’s past will always linger, and is always darker than any fictional entity. It: Chapter 2 does not shy away from its portrayal of bigotry, or its bigger messages about racism and America’s past. The first one has elements of it, but really, Chapter 2 feels like it peels back the kid’s-on-bikes stuff to get to the nitty-gritty of the story.
Additionally, the movie gets the casting down perfectly. Not saying It did not have some of the best child performances ever, but finding not only worthy adult counterparts, but book-accurate players would have to be an arduous task. Huge shout-out to the casting team for absolutely nailing this.
Bill Skarsgård Makes Pennywise Even Scarier
The whole cast blows this movie out of the water, but Pennywise in this one steals the show. Skarsgard is rarely anything less than excellent, but he gets his true horror laurel here. He plays the role as sinister as possible, landing some humor but never letting it weigh down the fear factor.
He is a force to be reckoned with. When making something like a killer clown movie in contemporary times, you have to be really careful not to make it just straight-up silly. Art the Clown is, of course, pure nightmare-fuel, but when approaching the horror big top, it can unintentionally end up feeling like a mismarketed Goosebumps episode.
This, though, is not a case like that. Pennywise is nightmarish in this. His voice is more sinister, and he reads as a predatory cosmic entity, and not just another slasher villain. Fun and frightening, Pennywise pulls no punches in bringing the horror in Chapter 2.
It’s not unreasonable to think most American horror fans can probably name only one Mexican horror filmmaker: Guillermo del Toro. Given how many fantastic films he’s made and how successful so many of them have been, it’s easy to see how he became a household name, but he’s far from the only Mexican filmmaker with a taste for the macabre. Rubén Galindo Jr. may be a major telenovela producer now, but in the 1980s he wrote and directed independent genre films in Mexico that likely influenced the kind of filmmaker del Toro would become. Galindo Jr. isn’t some obscure figure in Mexican entertainment, but he’s also not as widely known as he should be in horror circles, despite having many of his genre films available from Vinegar Syndrome.
In celebration of Latin Heritage Month, I wanted to shed a light on Galindo Jr.’s films not just because they are a lot of fun, but also because of how underseen they still are. Galindo Jr.’s early films mark a complete departure from the work he does now, so much so that you’d think it’s different people, but his early career genre films were important and part of a familial legacy of both the Galindos and the Cardonas (the royal families of Mexican genre films).
The Galindo Family Legacy in Mexican Horror
Rubén Galindo Jr., as his name suggests, is the son of Mexican filmmaker Rubén Galindo Aguilar. He first entered the film industry as an actor, but joined his family’s production studio to take on a myriad of roles like set designer, accountant, purchasing manager, and more. His directorial debut in 1969 was for a comedy, Un Amante Anda Suelto, and was the first of 47 films he would direct. While his focus wasn’t explicitly horror, he did direct a couple of films starring Luchador and actor Santo, as well as many Mexican westerns before focusing more on distribution in the 1980s. Coincidentally, around the time his young son, Galindo Jr., would begin his own filmmaking career.
Rubén Galindo Jr.’s Journey Into Mexican Genre Cinema
Galindo Jr. began his filmmaking career by leaving his hometown of Mexico City to attend UCLA, only to return to CDMX in 1983 after graduating with a degree in Film and Television Arts & Sciences. His first film, Cementerio Del Terror, was a huge hit despite being a modest production, and it was the first of many independent horror films Galindo Jr. would take on. While his legacy won’t be built upon the work he did in genre, it certainly started there and evolved beyond the underground and into the mainstream over time.
Cementerio Del Terror (1985): Rubén Galindo Jr.’s Horror Debut
Galindo Jr.’s first film is by far one of his most uneven, but in the same vein, also one of the most entertaining. It starts like so many great horror flicks do: on Halloween, as a group of kids decides to steal a body from the morgue, only to disrupt the ghoulish ghost of a serial killer. While graverobbing isn’t exactly the kind of thing many do for fun, this particular endeavor is in service of a satanic ritual that will go awry, thus leading to all kinds of bloodshed and demonic appearances. There’s a sub-plot involving some premonitions of the killer returning from the dead that go ignored, reasonably so, and where things land is your standard house/cemetery of horrors where the kids are met with all kinds of devious and dastardly demons.
The Horror Influences Behind Cementerio del Terror
With a reported budget of 45-65 million pesos (roughly $275,000-$540,000 US dollars), filming started in 1984, and Galindo Jr. was able to wrangle in well-known Mexican actor Hugo Stiglitz to star in the production. The film was a huge success for Galindo Jr., even if it wasn’t well-received by critics at the time. Galindo Jr.’s influences are apparent in terms of both content and style, as he clearly draws inspiration from John Carpenter’s Halloween and Sam Raimi’s Evil Dead. There’s also a heavy helping of Romero’s Night of the Living Dead, even if the ghouls at play here aren’t the zombified kind. It’s truly a smorgasbord kind of horror film that never fully commits to one idea, but knows how to weave them together well enough to be entertaining.
The practical effects may seem ropey by today’s standards, but context and time would dictate that these are quite good considering the circumstances and how much of a trailblazer Galindo Jr. was for making this kind of film at this time in Mexico.
Time has been far kinder to this film than critics were, as it averages a 3.0 on Letterboxd and is the recipient of a now sold-out edition from Vinegar Syndrome. In terms of ranking, this is probably B-Tier for Galindo Jr., which is impressive for a debut feature regardless!
Dimensiones Ocultas (Don’t Panic) and Its Influence
Perhaps the best-known of Galindo Jr.’s early genre films, Don’t Panic is without a doubt his best horror effort, and his most derivative. If Cementerio del Terror was riffing on two horror classics, Dimensiones Ocultas riffs on another. This time, it’s Wes Craven’s A Nightmare on Elm Street. Following very similar story beats, we follow Michael, who, on his 17th birthday, uses a Ouija board with his friends and accidentally unleashes a demon. This demon isn’t your ordinary run-of-the-mill possession type; no, this demon haunts you in your dreams! Michael sees these murders before they happen and tries to warn his friends, to no avail.
Why Don’t Panic Remains a Mexican Horror Cult Favorite
There’s a lot to love about Dimensiones Ocultas, and it’s not hard to see why it has become Galindo Jr.’s most notable genre film. From the strange kid-print adult-sized pajamas that Michael wears to the incoherent plotting, it’s not a film that’s going to appeal to those who prefer tight technical filmmaking and single-threaded plot lines. The characters are hard to take seriously, in part because so many of the voices are dubbed, and if this all sounds like reasons not to like this film, you’re sorely mistaken.
The Elm Street influence is endearing in how sloppily it is transcribed here, but it’s also distinct enough to not feel like a complete rip-off. The demon, Virgil, doesn’t really look like Freddy, but if you squint your eyes after a few drinks, you’d probably not be able to tell the difference. The death scenes are creative and at the same time comedic, so it’s not a film that is easy to take seriously, which is a good thing.
While there are no budgetary numbers that are verifiable, Dimensiones Ocultas shows more ambition in terms of effects and ideas than Cementerio, while not really showing much evolution in terms of screenwriting. Galindo Jr. does have better command of the pacing here, and this too has received the amazing Vinegar Syndrome treatment like Cementerio, but is also sadly out of print. A-Tier Galindo Jr.
Ladrones de Tumbas (1989) A Unique Mexican Slasher
Shortly after Dimensiones Ocultas, Galindo Jr. was back at it, directing his third horror feature, Ladrones de Tumbas. Learning a bit from both of his former features, Ladrones feels far more consistent both in terms of plotting and execution. It does tread familiar ground that harkens back to Cementerio, as a group of teenage treasure hunters unknowingly awaken a malevolent entity hell-bent (literally) on bringing forth the spawn of Satan. The spirit systematically takes out the teens one by one in clever, slasher-centric ways, and while it does feel familiar, it’s never repeating the same stuff seen in earlier Galindo Jr. joints. The effects feel far more accomplished, and the story is much easier to follow, all things considered.
The Forgotten History of Mexican Horror Filmmakers
There’s even less information about this film’s production out there, which is more of a reminder that there is still a woeful lack of study around Mexican horror filmmakers that has penetrated the mainstream. Even in preparing for this article, it’s quite difficult to find trusted sources- hell, any sources besides Wikipedia and IMDb. What we do know happens after Ladrones is that Galindo Jr. would begin his distinction from horror and start making his way West to more dramatic and widely accepted fare. There is one more film that Galindo Jr. would helm for horror, possibly two if you consider Resucitaré Para Matarlos in 1991, before making his big pivot. And you guessed it: the Vinegar Syndrome release of Ladrones is very much out of print. S-Tier Galindo Jr.
Mutantes Del Año 2000 (1992) Rubén Galindo Jr.’s Sci-Fi Horror Experiment
Mutantes del Año 2000 is easily the worst of Galindo Jr.’s genre efforts, and it’s largely because it’s kind of a silly premise. It’s a story about a teacher going through an ugly divorce during a time in the future where pollution is so bad that everyone wears gas masks, and an ex-husband who has been dumping nuclear waste behind the house, mutating the local rodent population. When a giant mutated rat enters the home, the teacher must fight it to stay alive while she’s warding off both the rat and her ex, who wants to keep his nuclear secret. It’s absurd, and it almost feels like Galindo Jr.’s first foray into the more dramatic side of storytelling.
Not only is this one a bit of a slog to get through, but it also loses some of the fun and charm that Galindo Jr.’s previous films exhibited. While the story is a bit more concise and clear, a positive, the delivery leaves a lot to be desired, even if the world-building is somewhat interesting. It’s hard to know, at least without further research or speaking to Galindo Jr. directly, what caused him to fall out of love with genre, but his lack of conviction is apparent here. You can’t fault someone for wanting a change, but I would be remiss not to wonder what it would’ve been like if Galindo Jr. kept refining his abilities for the sake of scares.
Why Rubén Galindo Jr.’s Mexican Horror Films Deserve More Attention
One of the most challenging parts of writing this kind of article is not having enough sources to tell a fully holistic story. Part of this is due to time, as one can only watch so many special features in such a time, but also that there simply aren’t as many primary sources for Mexican horror history and the filmmakers that contributed to it. The fact that so many can’t name more than one Mexican filmmaker says a lot about the lack of information out there, and so if you’re a filmmaker seeking a new topic for a genre documentary, consider Mexican horror. Not only is it fertile ground, but it’s also got a lineage of talent that is still alive to talk about what it was like, something we are reminded of weekly as announcements of deceased horror stars come across our news feeds.
Rubén Galindo Jr. is just one of many who have made their mark on horror in Mexico, and selfishly, I would love to know more about this than what is available. Running a website and working full-time doesn’t leave a lot of time for much else, but it’s important to both remember and celebrate the legacies of those who came before as trailblazers who are just as worthy of our praise as those who become household names.
For more of Matt Orozco’s work, along with many other great horror articles, head on over to Macabre Daily!
