Halloween III: Season of the Witch (1982)
Directed by Tommy Lee Wallace
After a terrified toy salesman is mysteriously attacked and brought to the hospital clutching the year's most popular Halloween mask, Dr. Daniel Challis sets out to investigate the strange events and finds himself thrust into a nightmarish conspiracy.
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What critics compared Halloween III: Season of the Witch to
Cinematographer Michael Simmonds' (2016's " Nerve ") lensing is exquisite, an ode to the ambitious, classy, textured camerawork of Dean Cundey (who shot " Halloween ," " Halloween II ," and 1982's " Halloween III: Season of the Witch ").
In 1982, Halloween III: Season of the Witch completely ignored villain Michael Myers in favour of a Scooby-Doo plot about a novelty company fronting an ancient Stonehenge cult.
Signing on to write, produce and score Halloween II allowed the two the freedom to make 1982’s Halloween III: Season of the Witch .
Finally, regular scene-stealer Katy Mixon (2009's " All About Steve ") does just that in the small role of Piper's flirtatious co-worker Norma Jean, while genre veteran great Tom Atkins (1982's " Halloween III: Season of the Witch ") gets the best line as crooked police chief Cap: "When I tell you to aim for their tires, I mean aim for their heads."
I read “It” in the fall of 1990, right before the TV movie version (directed by “Halloween III: Season of the Witch” auteur Tommy Lee Wallace) was broadcast.
Over several shots of orange lines being rendered, the most generically action-ey font you could imagine gives us the list of offenders this time around (if I'm not mistaken, it's the same font that David Lynch used in Twin Peaks: Fire Walk with Me ).
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Even Halloween was originally envisioned as an anthology, but the success of the Michael Myers character changed the course of the series, even if we got a taste of what it would have looked like with Halloween III: Season of the Witch.
Since then, the Fast pictures have taken on something of a travelogue quality (and also the most original numbering system of any current franchise), detouring to Miami for 2003’s Diesel-less 2 Fast 2 Furious, then to Tokyo for 2006’s The Fast and the Furious: Tokyo Drift, a non-sequitur (à la Halloween III: Season of the Witch) that eschewed the original characters in favor of a stand-alone narrative about a California gaijin who runs afoul of some street-racing yakuza.