Show Notes
Ten years of peace in Haddonfield. Then the Shape gets wheeled out of a boiler room on the eve of Halloween, wakes up in an ambulance, and decides it’s time to finish what he started.
We’re breaking down Halloween 4: The Return of Michael Myers (1988) with Bob Hauser (resident Halloween obsessive), Ryan Farrell, and Rachel Glassford. We’re talking the return of Donald Pleasence going full unhinged Loomis, Danielle Harris as young Jamie, Ellie Cornell as one of the most competent final girls in the entire franchise, the pink-and-blonde mask disaster, the substation, the posse of Flat Billy’s, the roof chase, and that ending twist that still catches people off guard.
Is this a confident, well-made sequel that actually looks and feels like fall in the Midwest, or is it another case of “we need Michael back, figure it out later”? We dig into the practical effects, the weird metaphysics, the tactical decisions Michael makes that somehow include driving stick and parallel parking a tow truck, and whether Rachel puts the whole movie on her back.
We also hand out the Will Patton Intensity Award, the Trash Can Full of Dirt, and the One Scene Wonder, then land on whether this one is a Bad Movie That Rules or a Good Movie Straight Up.
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The BMR Dead Starfish are suiting up for a big one: Michael Myers in Halloween 4: The Return of Michael Myers. One host is going in completely blind (he’s never seen a Myers movie), the other has seen through Part 5 plus the Rob Zombie ones, and the scouting report is all over the place.
Light physical mail week, so we dubbed it the Ryan Mailbag and immediately got handed Under the Rainbow—Chevy Chase, Carrie Fisher, and the largest gathering of little people ever assembled for a Wizard of Oz munchkin debauchery comedy. We still don’t fully know what happens in it. We just know the stories are wild.
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The BMR Pregame Show is live from Raccoon City. James, Clint, and Ryan get you ready for this Friday’s full episode on Resident Evil Retribution (2012) — the fifth movie in the series and the one where things have almost certainly stopped pretending to make sense.
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