Edgar Wright's LAST NIGHT IN SOHO is so enrapturing to the eyes and ears that it's a shock to the system when the film ends and you have to return to gray, blaring reality. Thomasin McKenzie plays Eloise, a sixties-obsessed, aspiring young fashion designer who leaves behind cozy country life to study in the exciting yet treacherous city of London. Instantly pegged as prissy by her more sophisticated roommate, she escapes ridicule by renting a room (from Dame Diana Rigg, no less) that better suits her offbeat personality. Soon her dreams, personality and mental landscape are meshing with those of a charismatic previous occupant of the room named Sandie (effortlessly ethereal Anya Taylor-Joy). Unfortunately, what begins as a joyous, romantic fantasy begins to curdle into a mystery-ridden, time warp nightmare.

LAST NIGHT IN SOHO is sort of like BLACK SWAN dipped in SUSPIRIA sauce but for all the many films and genres it may touch base with, it's always an impressively singular vision. Really, there's nothing quite like it and it sports a few moments that are absolutely spellbinding. Incredibly (for me), it may be least potent when it leans into pure horror, as some of poor Eloise's waking visions of phantoms from the past become redundant near the end. It's possible 20 minutes of this film could be shaved off to tighten up the story but on the other hand, a part of me wanted to stay in the universe it offered forever. Luckily, I don't mind wading through a few ineffective boo-scares for a film kind enough to play Siouxsie and the Banshees' "Happy House" at a Halloween party for me. It's not like a got a more stimulating place to go.

It's hard to fault a flick so earnestly entranced with its subject matter and the possibilities of film.  There are so many innovative things going on visually from clever mirror tricks to psychedelic lighting, to the detailed accuracy of replicated sixties-era London. The mix of eye candy imagery with stellar music selections can be absolutely intoxicating at times. Best of all, I can say I was genuinely surprised when the final puzzle piece was put in place. LAST NIGHT IN SOHO may require a bit of patience when it plays the same card a few too many times but the benefits of being so fully transported are absolutely worth it.

I was fascinated by horror at an early age but it was the viewing of John Carpenter's HALLOWEEN ('78) on TV one fateful night (while babysitting the night before the holiday) that spurred my lifelong obsession with the genre. The universe depicted in the Halloween franchise (regardless of timelines) will always be my home away from home. Just as so many of my generation gladly lose themselves in THE HOBBIT's Middle Earth or STAR WARS' galaxy far, far away, I've found my happy place roaming the back alleys of Haddonfield.

Love it or lump it, HALLOWEEN KILLS offers an express ticket to exactly where I personally want to be and it allows me to visit with characters I want to learn more about. Yes, I really do care what happened to Tommy Doyle and Lindsey Wallace (well played here by (new to the role) Anthony Michael Hall and (a returning) Kyle Richards)! In fact, it turns out I also care about what happened to the original film's bully Lonnie Elam (now portrayed by Robert Longstreet). Lonnie, Tommy and Lindsey are friends now and it warms my heart. Some call this fan service and well, I'm a fan and I appreciate the service! For better or worse, it's my ambrosia. These places, people and events provided me with distractions from harsh reality all my life and I'm nothing if not loyal. I'm saying I loved this movie and I can't wait to go back.

HK takes place the same night as 2018's HALLOWEEN but first we're treated to a variety of spellbinding fresh scenes that occur the night of the 1978 original. We even get a view of killer Michael Myer's eventual arrest complete with a remarkably staged revisit with Dr. Loomis that shouldn't work at all, but does and exceptionally well (truly, it's the type of uncanny that delivers goosebumps). Soon we're rocketing all over town, spending time with firefighters, cops, medical workers, mobs and almost anyone who had the misfortune of crossing paths with the dreaded MM. This movie goes far out of its way to lean away from the slasher trope that the drama and trauma is all about one lone special "final girl" and it's refreshing as hell. It may sting for some that Laurie (the always compelling Jamie Lee Curtis) takes a backseat and has no cathartic battle with the beast, but I think it's high time we acknowledge that death concerns everyone (and frankly, she deserves that weight taken off her back).

Characters that were mere blips in the previous movie get hearty vignettes in this one and the attention to detail and the enthusiasm for callbacks is rich and rewarding. My favorite new addition is an older gay couple named Big John and Little John (the hilarious Michael McDonald and Scott MacArthur) who have moved into the Myers house, are tormented by pre-teens and are NOT spared the wrath of Michael. Not gonna lie, I saw myself and Aunt John in these two (hanging out, listening to records and watching movies; I can relate. Though, another victim's choice of viewing THE FUNHOUSE suits me better than MINNIE & MOSKOWITZ on All Hallow's Eve). You know if Michael came to town I'd appreciate being treated just like everybody else (I'd even fight with Aunt John for the on-screen kill). Probably won't matter to most people that after all these films we finally got a duo like this represented but I sure dug it. Sure, Laurie does have to step aside to allow it to happen but I'm glad she did. Some might say the structure is loose and/or wayward in this flick but that's kinda the point; HALLOWEEN KILLS opens the window and lets the long in the tooth slasher format breath a little.

I see a lot of online vitriol for this movie and I'm baffled. Even if you don't care for the highly repetitive dialog or the baby step forward in Laurie's saga, director David Gordon Green delivers one of Michael's most threatening romps yet. The kills here are off the hook and I don't remember the last time I actually gasped out loud during a horror film death. Myers is absolutely ruthless in this film (although he is kind enough to pose a few corpses). Oh well, we all have different tastes. There's a reason my brothers and I would trade candies back and forth after trick or treating. Some folks dig tried and true traditional chocolate bars, I'm more of a fan of the variety of Bottlecaps. BTW, why are Bottlecaps candies so tiny these days? No wonder I'm so damn nostalgic.

That Cold Day in the Park (1969). My favorite Robert Altman film -a distant second being Brewster McCloud– in which a lonely frigid spinster (Sandy Dennis) comes across a wet and shivering 19-year-old boy (Michael Burns) sitting on a park bench, who awakens long submerged and hopelessly deranged passions in her. One thing leads to another and much to his chagrin, the boy finds himself locked away in the apartment with a rapidly mentally deteriorating old maid. No Skin Off My Ass (1991) also drew from the source novel this film is based on. All I have to say is, Sandy Dennis can hold me hostage any time.

Sanctuary of Fear (1979). I admit that what initially drew me to this was the fact that I fell in love with Kay Lenz when I first saw her in one of my all-time favorite films, Breezy (1973). The fact Barnard Hughes of The Hospital (1971) and The Lost Boys (1987) fame plays Father Brown also certainly didn't hurt matters. An actress witnesses several bizarre and frightening incidents but the police won't believe her, luckily for her, Father Brown does. This is a pretty good thriller which was to be the pilot for a television series which unfortunately was never made.

Rubin and Ed (1991). Here's a funny, thoroughly enjoyable film with great spirit which I cannot recommend enough. Rubin Farr (Crispin Glover) is an unsociable guy living with his mother who forces him to make friends against his will. Ed Tuttle (Howard Hesseman) is a would be, try hard businessman who is nonetheless unsuccessful and who falls for a pyramid scheme. They go on an adventure to bury Rubin's dead frozen cat in the desert and become friends along the way. This film is both surreal in many respects and subtly subversive of the mainstream mindset afflicting most today. It is a contender in my book for one of the best movies about a relationship between a human and an animal (even if that animal has ceased to be). Also, if you have ever seen the famous clip of Crispin Glover seemingly drugged out of his mind, dressed strangely and nearly kicking David Letterman in the head and wondered to yourself, what the hell is that all about? this is the answer.