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Post by Deleted on Feb 14, 2019 15:12:42 GMT
So in the newest Halloween, while Michael Meyers is on his killing spree, he walks through a house and there is a baby crying in the crib. He looks at the baby and keeps going. For a minute I thought they might actually go there with the baby, but was relieved that they played it safe (small children and animals are the two things that bother when they die in films. everyone else can get ). What are we supposed to take away from this scene though? Does he only kill adults he assume must be guilty of something, no matter how small? Does the baby get spared because it is assumed innocent? Was this interaction some kind of proof of a glimmer conscience in MM?
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Post by cwsims on Feb 14, 2019 15:43:45 GMT
I think mostly its to show that there is a little bit of humanity still left in the shape there was a similar scene in the hospital during the original H2
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Post by gbone on Feb 14, 2019 15:43:49 GMT
Well, a young boy bumped into him and he let him live.
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Post by Anonymous Andy on Feb 14, 2019 19:02:36 GMT
No challenge, no point.
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Post by Deleted on Feb 14, 2019 19:15:17 GMT
That's an angle I had not previously considered!
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Post by masterofallgoons on Feb 14, 2019 19:51:10 GMT
Well, a young boy bumped into him and he let him live. Was that mercy, lack of interest, or the logistics of not being able to get away with attacking people in the crowded public?
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Post by Lebowskidoo 🦞 on Feb 14, 2019 19:53:03 GMT
Michael likes kids, just don't let him be your babysitter.
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theshape25
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Post by theshape25 on Feb 19, 2019 21:48:46 GMT
I was surprised he killed the young kid who was at the crash scene. After seeing that I thought the may actually kill the baby. I think if he would have the movie would have been raked over the coals though.
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Post by moviebuffbrad on Feb 21, 2019 20:39:44 GMT
Seeing people saying Michael might still have humanity in him would have Dr. Loomis spinning in his grave. He has no problem killing kids, as seen in this same movie.
The no challenge angle is a little Predator-y, but works better. But ultimately I think we're not supposed to understand Michael or his actions.
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simest
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Post by simest on Feb 22, 2019 0:29:55 GMT
For saying this movie was all about connecting to the original, I felt it resembled a lot of the lesser sequels far more strongly.
It's strongly implied that Michael has no intent to kill children in the original. The kid running into him at the school is a hint of this, even if yes - killing him in broad daylight would mean almost certain apprehension.
Further hints are given later - for instance, it would have been easy for him to stomp right into the Wallace home and kill both Annie and Lyndsay much in the manner he invades homes in this sequel...........but he doesn't. He waits until Annie is isolated with Lyndsay out of the way because he has no interest in the child because she doesn't fit his target profile.
Likewise, killing Laurie and Tommy by just storming the Doyle house wouldn't have been too difficult but that wasn't on his agenda. Tommy had no part in his plans.
Even in the final confrontation, he shows no real intent toward Tommy and Lyndsay - instead most determinedly pursuing Laurie to the closet when he could easily have gone for the kids very obviously ushered into the next room.
Michael in the original - it seems clear - is purely targeting teenage girls that act as surrogates for his sister Judith so that he can relive her murder over and over. Why else return to Haddonfield, the scene of the original crime - and wear a mask again as he did when committing that said original crime?
And not just that, he is patient.......planning and preparing for it. Stealing Judith's headstone - ready to deploy above his Judith surrogate Annie as a shrine to the original act. Biding his time - lurking in the bushes and at the windows stalking and observing his prey. Waiting for the perfect moment to strike, when all the elements are right and children are out of the way and no longer an unnecessary complication.
It seemed he had a very deliberate purpose of centering on a group of girls around the age of his sister when she died, killing them in a similar fashion and then creating a masterpiece of it with the headstone to relive that original night in 1963.
Unlike this sequel, he doesn't just stomp right into homes like a bull in a china shop, slaughtering whoever happens to be in there after 30 seconds peering in their window. He doesn't kill a pre-adolescent boy who has nothing in common with the victim profile that seems to occupy his pathology of re-enacting Judith's murder.
No, in this sequel it seems they paid little attention to Myers 1978 and a lot more to the crap that followed by giving us just another brutal, thug-like Myers that stomps on heads and ramps up a body count by offing just about anyone and everyone he happens upon without the clever and mysterious pathology that motivated him to preciseness in Carpenter's original.
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Post by James on Feb 22, 2019 0:46:58 GMT
Maybe things in bed mean no concern to him?
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Post by moviebuffbrad on Feb 22, 2019 23:02:52 GMT
For saying this movie was all about connecting to the original, I felt it resembled a lot of the lesser sequels far more strongly. It's strongly implied that Michael has no intent to kill children in the original. The kid running into him at the school is a hint of this, even if yes - killing him in broad daylight would mean almost certain apprehension. Further hints are given later - for instance, it would have been easy for him to stomp right into the Wallace home and kill both Annie and Lyndsay much in the manner he invades homes in this sequel...........but he doesn't. He waits until Annie is isolated with Lyndsay out of the way because he has no interest in the child because she doesn't fit his target profile. Likewise, killing Laurie and Tommy by just storming the Doyle house wouldn't have been too difficult but that wasn't on his agenda. Tommy had no part in his plans. Even in the final confrontation, he shows no real intent toward Tommy and Lyndsay - instead most determinedly pursuing Laurie to the closet when he could easily have gone for the kids very obviously ushered into the next room. Michael in the original - it seems clear - is purely targeting teenage girls that act as surrogates for his sister Judith so that he can relive her murder over and over. Why else return to Haddonfield, the scene of the original crime - and wear a mask again as he did when committing that said original crime? And not just that, he is patient.......planning and preparing for it. Stealing Judith's headstone - ready to deploy above his Judith surrogate Annie as a shrine to the original act. Biding his time - lurking in the bushes and at the windows stalking and observing his prey. Waiting for the perfect moment to strike, when all the elements are right and children are out of the way and no longer an unnecessary complication. It seemed he had a very deliberate purpose of centering on a group of girls around the age of his sister when she died, killing them in a similar fashion and then creating a masterpiece of it with the headstone to relive that original night in 1963. Unlike this sequel, he doesn't just stomp right into homes like a bull in a china shop, slaughtering whoever happens to be in there after 30 seconds peering in their window. He doesn't kill a pre-adolescent boy who has nothing in common with the victim profile that seems to occupy his pathology of re-enacting Judith's murder. No, in this sequel it seems they paid little attention to Myers 1978 and a lot more to the crap that followed by giving us just another brutal, thug-like Myers that stomps on heads and ramps up a body count by offing just about anyone and everyone he happens upon without the clever and mysterious pathology that motivated him to preciseness in Carpenter's original. I figured Michael stalking Tommy at school in the first place was indication he was a target. The bully kid wasn't, but that doesn't mean a no-kid rule. I agree with the rest. Brutish Michael was my biggest problem with the film.
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simest
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Post by simest on Feb 22, 2019 23:21:30 GMT
For me, there was two reasons he stalked Tommy:
1. He had noted Tommy earlier that morning with Laurie - who by this stage, definitely was a target - and was just tracking the movements of anyone he knew who associated with her........not so much to target them but to keep her within his radar even when not directly stalking her.
2. Tommy was a curious, distant reminder of himself as a child. Seeing Tommy with Laurie may have triggered some subconscious and suppressed parallels to himself with Judith many years ago. As such, he was oddly drawn to observing him for those few moments.
Never at any stage in the movie, did I for one fleeting moment feel that he had any interest or designs on targeting Tommy or Lyndsay and I still feel the way the character and the story is presented that there very much is a no-kid pathology within Michael's agenda simply because he is focused on a different but very specific type of target.
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