(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Five Halloween stories: A principal has a secret life, a virgin is looking for her first time, a group of kids pull a prank, a woman who loathes Halloween does not respect the rules and a mean old man meets a demonic trick-or-treater.”
As I’ve often said in reviews on SciFiHistory.Net, I’m an admitted fan of anthologies.
To me, the theatrical anthology is no different than the literary collection of short stories, all gathered around a central theme or shared idea that delivers a variety of content as opposed to the traditional flick that, largely, explores a single concept. For that reason, audiences are given access to what could be performances that truly explore the spectrum of what’s possible – highs, lows, manic, depraved, subdued, etc. – paired up with shorter tales that might only have circumstantial overlap but thematically exist in the same cinematic universe. As a consequence, it’s easier to overlook some minor quibbles or the random narrative blemish because the next installment up might redeem the experience, allowing the good, the bad, and the ugly to balance out in the process. Of course, that isn’t always the case, but I’ve seen it happen more often than not.
To my surprise, I’d somehow completely missed 2007’s Trick’r’Treat, a shared universe yarn of dark delights all set in the fictional little ‘burb named Warren Valley, Ohio. Written and directed by Michael Dougherty – an award-winning writer, director, and producer whose name shows attached to such other entries as Superman Returns (2006), Krampus (2015), X-Men: Apocalypse (2016), and Godzilla: King Of The Monsters (2019) amongst others – the story cleverly weaves together five loosely-separate adventures into one seamless Halloween night ditty with some surprisingly deft overlap. Suffice it to say, it’s exactly the kind of picture that rewards not only those watching closely but also those who like to go back and revisit its lean and mean 82 minutes: dare I say that you’ll be surprised at how much more connective tissue you catch on subsequent viewings when you know some of what’s about to unfurl?
From the film’s IMDB.com page citation:
“Five Halloween stories: A principal has a secret life, a virgin is looking for her first time, a group of kids pull a prank, a woman who loathes Halloween does not respect the rules and a mean old man meets a demonic trick-or-treater.”
As I’ve often said in reviews on SciFiHistory.Net, I’m an admitted fan of anthologies.
To me, the theatrical anthology is no different than the literary collection of short stories, all gathered around a central theme or shared idea that delivers a variety of content as opposed to the traditional flick that, largely, explores a single concept. For that reason, audiences are given access to what could be performances that truly explore the spectrum of what’s possible – highs, lows, manic, depraved, subdued, etc. – paired up with shorter tales that might only have circumstantial overlap but thematically exist in the same cinematic universe. As a consequence, it’s easier to overlook some minor quibbles or the random narrative blemish because the next installment up might redeem the experience, allowing the good, the bad, and the ugly to balance out in the process. Of course, that isn’t always the case, but I’ve seen it happen more often than not.
To my surprise, I’d somehow completely missed 2007’s Trick’r’Treat, a shared universe yarn of dark delights all set in the fictional little ‘burb named Warren Valley, Ohio. Written and directed by Michael Dougherty – an award-winning writer, director, and producer whose name shows attached to such other entries as Superman Returns (2006), Krampus (2015), X-Men: Apocalypse (2016), and Godzilla: King Of The Monsters (2019) amongst others – the story cleverly weaves together five loosely-separate adventures into one seamless Halloween night ditty with some surprisingly deft overlap. Suffice it to say, it’s exactly the kind of picture that rewards not only those watching closely but also those who like to go back and revisit its lean and mean 82 minutes: dare I say that you’ll be surprised at how much more connective tissue you catch on subsequent viewings when you know some of what’s about to unfurl?
Because this one both is and isn’t the typical anthology, I’ll dispense with any meaningful dissection of the plot. Instead, let me just give you the lowdown on its individual installments and then I’ll tell you what I think is special or noteworthy afterwards.
Now, any respectable anthology is going to have its share of imperfections. Storytelling is rarely perfect; and theatrical versions especially are tied to ensuring that hundreds if not thousands of simultaneously moving pieces get put in the proper order alongside the proper context. Surprisingly, Trick’r’Treat manages to sidestep any massive stumbling blocks – even more impressive when one imagines all of the post-production editing that had to take place for this to bond the way it does – and it manages to use its visual, pacing, and performances to maximum effect. Admittedly, the creation of Sam – a bit of a supernatural entity making the most of his All Souls’ Eve – is the lynchpin holding a good deal of the stuffing in place; and none of us would’ve worked as well have Dougherty tried to dance to a different tune in his delightful mirth.
Still, I’m finding it a bit difficult to praise everything here.
- Emma & Henry are the typical American couple. He loves Halloween but she’s a bit unimpressed with it all. Before midnight strikes, Emma might have committed the ultimate offense against traditions, and the price might be her very life as a consequence.
- The Principal pulls back the curtain on Steven Wilkins – the local school principal – and the man’s private life, showing that not all professionals who work with children have their best interests in mind 24/7. In fact, some of them might just be a bit deadly.
- Like a split personality, the School Bus Massacre actually bridges two tales into one. A past tragedy detailed as a local legend comes back to haunt today’s youth when they attempt to prank one of their own who may or may not have her own little secret to hide.
- Surprise Party explores what four young women hungry for a little something extra might do to have their appetites fulfilled, even though the youngest in the group is a bit hesitant to take the big first step into … ahem … maturity.
- Sam & Kreeg shows what happens when two opposing forces come together – in the most traditional Horror story in here – for the purpose of accounting for souls lost in the aforementioned School Bus Massacre. It’s a dark trip, one that ends exactly the way viewers will likely expect.
Now, any respectable anthology is going to have its share of imperfections. Storytelling is rarely perfect; and theatrical versions especially are tied to ensuring that hundreds if not thousands of simultaneously moving pieces get put in the proper order alongside the proper context. Surprisingly, Trick’r’Treat manages to sidestep any massive stumbling blocks – even more impressive when one imagines all of the post-production editing that had to take place for this to bond the way it does – and it manages to use its visual, pacing, and performances to maximum effect. Admittedly, the creation of Sam – a bit of a supernatural entity making the most of his All Souls’ Eve – is the lynchpin holding a good deal of the stuffing in place; and none of us would’ve worked as well have Dougherty tried to dance to a different tune in his delightful mirth.
Still, I’m finding it a bit difficult to praise everything here.
While he’s good at portraying the principal with an unstated passion for bloody mayhem, Dylan Baker feels a bit uninspired here. Though he handled a few of the scenes with some ironic nuance in just the right measure, he’s unfortunately saddled with a kinda/sorta second half to his individual chapter that gets a bit too goofy. The bit of burying his victims in the backyard is a bit too expected, I think, and his chapter in this bloody book winds up feeling a bit shoddily strung together.
Similarly, Anna Paquin has built her entire career around playing the bit-too-wholesome girl-next-door; and she turns similarly themed work here as Laurie, the will-she-won’t-see young maiden who initially gets painted like a damsel-in-distress who can secretly more than take care of herself. Granted, she’s given a nice spin – once you know what you know you’re apt to go back and reexamine her story for clues you might have missed – but, again, it isn’t as if she hasn’t done this before.
Lastly, screen veteran Brian Cox – in the pivotal role of Kreeg – is so good here that audiences might wish he was afforded an entire stand-alone feature, one that could’ve expanded even on Sam’s parallel story in a loose origins-style picture. Don’t misunderstand: it’s great that he’s in this, but Cox’s segment was the only one that I truly wanted to spend more time with. That’s rare – especially in anthologies – so it deserves a mention in this space.
How oh how did I miss this production for so long? I’ve read that its theatrical run suffered some considerable delay – I can understand why a studio’s legal wizards might’ve taken issue with some of the pieces – but apparently the film has racked up fans upon fans since fully being launched into the entertainment stratosphere. Honestly, it’s easy to see why – holiday sendups are usually embraced by us for cultural reasons – especially given the fact that its practical effects work is spectacular, there isn’t a bad performance in here, and the affectionate and dismembering treatment of Halloween is both pleasurable and relevant. There’s truly a great deal of polish to this effort, and I’m highly recommending it to all interested readers.
Similarly, Anna Paquin has built her entire career around playing the bit-too-wholesome girl-next-door; and she turns similarly themed work here as Laurie, the will-she-won’t-see young maiden who initially gets painted like a damsel-in-distress who can secretly more than take care of herself. Granted, she’s given a nice spin – once you know what you know you’re apt to go back and reexamine her story for clues you might have missed – but, again, it isn’t as if she hasn’t done this before.
Lastly, screen veteran Brian Cox – in the pivotal role of Kreeg – is so good here that audiences might wish he was afforded an entire stand-alone feature, one that could’ve expanded even on Sam’s parallel story in a loose origins-style picture. Don’t misunderstand: it’s great that he’s in this, but Cox’s segment was the only one that I truly wanted to spend more time with. That’s rare – especially in anthologies – so it deserves a mention in this space.
How oh how did I miss this production for so long? I’ve read that its theatrical run suffered some considerable delay – I can understand why a studio’s legal wizards might’ve taken issue with some of the pieces – but apparently the film has racked up fans upon fans since fully being launched into the entertainment stratosphere. Honestly, it’s easy to see why – holiday sendups are usually embraced by us for cultural reasons – especially given the fact that its practical effects work is spectacular, there isn’t a bad performance in here, and the affectionate and dismembering treatment of Halloween is both pleasurable and relevant. There’s truly a great deal of polish to this effort, and I’m highly recommending it to all interested readers.
Trick’r’Treat (2007) was produced by Warner Bros., Legendary Entertainment, Bad Hat Harry Productions, British Columbia Film Commission, and Little Sam Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert … wow. This film looks and sounds phenomenal. There are a good portion of practical in-camera effects work, and they look stunning. Lastly, if you’re looking for special features? Well, this is Arrow Films, and – thus far – they’ve yet to disappoint me. In order to be as specific as possible, I’m doing the dutiful copy-and-paste from their press materials previously published on Blu-ray.com:
- Brand new 4K restoration by Arrow Films, approved by writer-director Michael Dougherty
- Dolby Vision/HDR grade
- Original DTS-HD MA 5.1 surround and 2.0 stereo audio
- Optional English subtitles for the deaf and hard of hearing
- Archival audio commentary by Michael Dougherty, conceptual artist Breehn Burns, storyboard artist Simeon Wilkins and composer Douglas Pipes
- Tales of Folklore & Fright, an archival featurette with Michael Dougherty, Breehn Burns and Simeon Wilkins
- Tales of Mischief & Mayhem: Filming Trick 'r Treat, an archival interview with Michael Dougherty on the making of the film
- Sounds of Shock & Superstition: Scoring Trick 'r Treat, an archival featurette with Michael Dougherty and Douglas Pipes
- Tales of Dread & Despair: Releasing Trick 'r Treat, an archival featurette with Michael Dougherty and Rob Galluzzo of the Shock Waves podcast, exploring the film's release and fandom
- Season's Greetings, a short film from 1996 directed by Michael Dougherty with optional director commentary
- The Lore and Legends of Halloween, an archival featurette narrated by actor Brian Cox
- School bus VFX comparison
- Additional scenes
- Sam O'Lantern
- Storyboard and conceptual artwork gallery
- Behind the scenes gallery
- Monster Mash comic book set in the Trick 'r Treat universe
- Trailer
- Reversible sleeve featuring original and newly commissioned artwork by Sara Deck
- Double-sided foldout poster featuring original and newly commissioned artwork by Sara Deck
- Six postcard-sized artcards
- Illustrated collector's booklet featuring new writing on the film by Becky Darke and Heather Wixson
As the only qualifier I’d throw in regarding this assortment, I’m provided an industry-issued copy of the disc alone: therefore, I can’t speak to the efficacy of any of the materials like artwork, postcards, booklets, etc. That is always a ‘buyer beware’ reminder. I have listened to the all-new commentary track (thus far), and while it’s occasionally interesting I find it a bit too conversational without a lot of facts that I like. Perhaps those will be found on the archival commentary track I’ve yet to explore.
Highly Recommended.
As much as I like strong storytelling, I have an even deeper admiration for visual cleverness; and – on that point alone – Trick’r’Treat excels. While some might figure that it’s easy-peasy to craft a grand Hallows’ Eve tale involving the young and the old, the truth here is that Dougherty very smartly achieves some astonishing tonal balance in quality by smartly linking these seemingly disparate chapters into an inseparable whole. True, you might have to be watching closely to see where one journey intersects with the others; but – come the finish – there’s no denying that much any other holiday feature Halloween offers intelligent storytellers with the opportunity to do something special if they’re willing to put in the effort. And the reward just might be producing one of the brightest Cult films of record.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary 4K UltraHD Blu-ray copy of Trick’r’Treat (2007) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Highly Recommended.
As much as I like strong storytelling, I have an even deeper admiration for visual cleverness; and – on that point alone – Trick’r’Treat excels. While some might figure that it’s easy-peasy to craft a grand Hallows’ Eve tale involving the young and the old, the truth here is that Dougherty very smartly achieves some astonishing tonal balance in quality by smartly linking these seemingly disparate chapters into an inseparable whole. True, you might have to be watching closely to see where one journey intersects with the others; but – come the finish – there’s no denying that much any other holiday feature Halloween offers intelligent storytellers with the opportunity to do something special if they’re willing to put in the effort. And the reward just might be producing one of the brightest Cult films of record.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary 4K UltraHD Blu-ray copy of Trick’r’Treat (2007) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
RSS Feed