Cinematography of Rob Zombie's "Halloween II" (2009)

What's good y'all!

Today's I'm doing another breakdown for Halloween II (2009). It's pretty clear that Rob's films are not for everyone. His audience is more niche than Zack Snyder and as a huge fan of Snyder, that says a lot. If you read the title and you clicked on his post, than I'm guessing you have to be a fan of at least this film... Right?!

So last chance before I get started... You in?

I'm guessing that's a yes, so let's begin. I watched this film the other day and I love it & adore the cinematography. I really like how much Rob changed the visual aesthetic of this movie in comparison to his prequel in 2007. The images here are darker, dirtier, desaturated. The shots are wide and the film grain is kicked up quite a bit and to me, it makes the movie feel vintage and worn. I LOVE this.   

The first of many wide shots of the film... or is it a camera trick? Who knows but it's a great shot of Michael's mother, but at the time of this shot, we don't know who this is, so it makes for an eerie moment of being unsure.

I think this shot of Michael with the full moon behind him makes for an extremely eerie frame. The shape has come full circle at this point. We're well aware of him and what he's capable of, especially what he just did to one of the coroners. Side not, keep your damn eyes on the road people, Jesus. 

The light and mist added to this shot cranks the creep factor up quite a bit. It's almost like the aura of evil is emerging even more, as he locks eyes with his dead mother. 

As stated before, you can see that eerie mist rise and continue to rise, the closer he gets to his deceased mom. She's the representation of that evil that continues to grown inside him. It leads him in the direction to kill. 

It was said that the entire "White horse," theme was added in reshoots because Rob thought it was 'cool,' but I'm not sure if he added them just because of the cool factor. As the film continues, the quote from the beginning of the film comes more and more into fruition.  

I really love that Rob chose to start the film in the hospital as homage to Halloween II. I feel like this was a way to feed the horror fans need for killing chaos before being able to deconstruct Laurie's trauma. I also dig the change of position before and after the kill. The muted color tone also really makes these frames look so grimy and allow the brighter colors to pop. 

Gruesome s*** here. This shot lingers in a way that it makes you think about Michael's sheer brutality. Outside of Halloween Kills, this is probably the bloodiest kill in the franchise. Octavia killed her few minutes of performance. She sells that pain with just a look and that guttural scream gives me chills. I wonder what made her want to do this scene just to die?

Beautiful examples of why Michael is known as the shape. The shape of darkness and evil that is relentless. The first shot from below makes us feel powerless against him. The 2nd shot is that dimly lit silhouette that offers the sense of danger. 

I love the imagery of Michael behind Loomis. In my opinion, it's a metaphor for the fact that Michael is all he has to fallback on. Here he is in the next film, pushing a new book with the same information about Michael; to stay relevant. 

I love magic hour shots. I have a theory that every time a shot like this in any movie, it's there because  they were able to catch the sky at this time of day. Time is limited when the sky looks like this and if it's perfect, you gotta grab it. 

Gorgeous shots. Load up that fog machine, shine the spotlight down on the actor, & there you go. Creep ambience created and if shot well, it'll be effective and in this case, it is. 

A lot of people hated the supernatural factor about this film but I thought it was cool. I especially like that the evil guiding Michael to do these terrible things has taken the shape of his mother. She's the only person that he seemed to care about and now it's his agent of chaos. 

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Love this shot! It's been said throughout the franchise that Michael is still that small boy from that very night and has yet to grow up outside of his physicality. This frame is the visual embodiment of that concept. 

More great misty lit silhouette work. I think Rob really wanted to personify the term, "the shape," instead of mentioning it. If I remember correctly, Loomis doesn't refer to him as such at any point in this film or it's predecessor. 

A fantastic shot! One of the most 'Halloween' sequences in the entire series. This silhouette of a brutal kill with a nightmare-ish back drop, is horror art.

This entire sequence is from Rob's music video mind. Again, another part people don't particular care for but I think it's dope because of the context. All of this imagery is just evil speaking to the child like mind of Michael, in a way that he understands it.

 The last real moments of his life that he remembers and cherishes, are from the night of Halloween. So his deranged mind sees these entities, as the ones who guide his mother and he wants them to have a seat at that table. Including "boo," which is why he's on the quest to killer her. This is just my interpretation, so if you don't agree; I'm a okay with that. 

This image speaks for itseld. Pretty clever transition to add weight to Michael's return home

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The aftermath of powerlessness in one shot.

I love how this visually expresses what Michael's mother is saying to him. "The path leads back home." Aside from what looks like a trail above, I think it adds to the narrative as to why he even showed back up at the strip club.

The last thing you want, is Michael staring you down from a distance. I honestly just think this shot is cool. I can't recall a time Michael has been drenched with neon light. 

This is a fantastic frame. So much is said in this one shot. As Loomis stated, he became a father figure to Michael. So for Michael to see himself exploited by the last person he trusted, makes you weary of what to expect when they finally meet again.

Great use of light to display the gigantic shadow of a man. This is honestly a pretty terrifying image that would instill fear even if you didn't know this was from a Halloween movie. 

Not even in a mask, Michael is terrifying. This is one of the best shots in both films that gives a clear view of how large of a dude Michael is. If you were on the fence about being scared of him up until this point, this will move you completely over it. 

I like the lightning of this shot. Michael heads towards the red, which is a color we usually associate with danger. I could be reaching here, but it also reminds of that spectacular famous shot in Halloween 3, with the kids walking over the hill while the sunsets. 

This reminds me of a shot straight out of a 90s movie, like the Craft. Simple lighting but makes for a pretty cool frame.

I just really admire the s*** out of the production design for this Halloween party. I desperately want to attend a party that goes all out like this. I've been places that had great decor but none as elaborate as this. Part of me also feels this homage to Halloween 5's Halloween party that took place next to that barn. 

Love how this scene kind of slowly creeps up and as her vision gets hazy, her mom and brother become clearer.  Nice touch by having her body highlighted in red to clash against their pale bodies.

This shot reminds me of the famous shot in Halloween 78'. You know, the one from a similar distance with Michael's shape being the only person in it. Dope.

Classic horror trope shot with the man in the mirror. Michael's mask here looks creepier than it ever has being ripped up.

Love the lighting choice in this shot with the forced slow motion. It adds to the hopelessness of never escaping. There's a dreamy element at play with how the camera is capturing the light. This feels like a sequence out of a 70s horror movie and Rob loves making these type of call backs in all his films.

These shots aren't necessarily based around cinematography but I had to give props for the acting in this sequence. It almost brings me to tears to see how officer Brackett reacts to seeing his slain daughter. This is a gut punch every single time I see it. Throwing in flashback footage as her as a kid, adds so much to emotion to this sequence. I'm hurting now just thinking about this scene.

Phenomenal shot on every level. I really wonder how long it took to pull this off with the light casting so perfectly. Its breathtaking and absolutely terrifying at the same time. What else can you even do when Michael is this God like? The shape has reached a new level.

The family has reunited and has literally left chaos behind every road they've traveled. Amazing use of lighting that probably doesn't get the credit it deserves. I don't think this was done in post so I'm sure they blacked the scene out by positioning a light in a very particular place to keep the shine on the 4 of them only. A large feat in itself.

The closest shot of Michael we've seen in this entire film. I just like the look of this blue light shining down on him.

It is linked to instinct, purity ...

and the drive of the physical body...

to release powerful and emotional forces, like rage with ensuing chaos and destruction..

The White Horse.

Alright, there you have it! My favorite shots and breakdown of Halloween II (2009), one of best shot films in the series. Let me know if there's a favorite shot I didn't mention or if you have a different interpretation. 

Thanks for reading, PEACE & Happy Halloween! 

*I do not own the images posted to this blog.*