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While Dan attempts to phone for the authorities, Ellie mysteriously disappears and Dan is captured by the men in suits who are revealed to be androids created by Cochran.

Cochran reveals his plan to sacrifice children wearing his masks on Halloween, thus bringing about a resurrection of the ancient age of witchcraft.

When activated by a flashing signal of the commercial's on-screen "magic pumpkin", the microchip causes the mask wearer to succumb to brain damage from absorbing the energy of Stonehenge and unleashes a swarm of insects and snakes that come out of the wearer's corpse and kill anyone nearby.

To demonstrate, Cochran kills the Kupfers this way. Later that night, Cochran puts a Silver Shamrock mask on Dan, and leaves him to die the same fate as the trick-or-treating children, who will come back home for his false watch-and-win Halloween sweepstakes that he created for his company.

Dan, destroying the television set and removing the mask, escapes through a ventilation shaft and rescues Ellie.

He dumps the chips from the overhead rafters, and activates their signal with the commercial, killing Cochran's employees, while Cochran is vaporized by the Stonehenge rune he was using to create his masks, and destroying the computer chips along with the entire Silver Shamrock factory.

As the two drive away, Ellie attacks Dan, revealing herself to be an android duplicate and that Cochran's henchman presumably killed her.

Dan crashes the vehicle but decapitates the android with a tire iron. On foot, Dan arrives at Walter's gas station, where he contacts the television stations and attempts to convince all the station managers to remove the commercial.

At the same moment, a group of trick-or-treaters, wearing Silver Shamrock masks, arrive at the station to participate in the "Big Giveaway" on Walter's television.

Dan persuades the stations to take it off channels one and two, but on channel three the commercial keeps on playing. Dan desperately screams on the phone for the final station to turn off the commercial.

The fate of Dan, Walter and the children are unknown. When approached about creating a third Halloween film, original Halloween writers John Carpenter and Debra Hill were reluctant to pledge commitment.

Carpenter and Hill agreed to participate in the new project only if it was not a direct sequel to Halloween II , which meant Michael Myers would not be the focus of the film.

Special effects artist Don Post of Post Studios designed the latex masks in the film which included a glow-in-the-dark skull, a lime-green witch and an orange Day-Glo jack-o'-lantern.

Post linked the masks of the film to the popularity of masks in the real world:. Every society in every time has had its masks that suited the mood of the society, from the masked ball to clowns to makeup.

People want to act out a feeling inside themselves—angry, sad, happy, old. It may be a sad commentary on present-day America that horror masks are the best sellers.

Most of the filming took place on location in the small coastal town of Loleta, California. Producers recruited British science fiction writer Nigel Kneale to write the original screenplay, mostly because Carpenter admired his Quatermass series.

Director Tommy Lee Wallace was then assigned to revise the script. Hill told Fangoria that the film was supposed to be "a 'pod' movie, not a 'knife' movie.

Romero 's second film Season of the Witch —also known as Hungry Wives —but the plot contains no similarity to Romero's story of a housewife who becomes involved in witchcraft.

Film critics like Jim Harper called Wallace's plot "deeply flawed". Harper argues, "Any plot dependent on stealing a chunk of Stonehenge and shipping it secretly across the Atlantic is going to be shaky from the start.

Not a great plan. Kill the kids and replace them with robots? The cast of Halloween III: Season of the Witch consisted mostly of character actors whose previous acting credits included cameo appearances on various television series.

Atkins told Fangoria that he liked being the hero. As a veteran horror actor, he added, "I wouldn't mind making a whole career out of being in just horror movies.

Stacey Nelkin co-starred as Ellie Grimbridge, a young woman whose father is murdered by Silver Shamrock. She landed the role after a make-up artist working on the film told her about the auditions.

Although I like to think of myself as having these traits, she was written that way in the script. Ebert explained, "She has one of those rich voices that makes you wish she had more to say and in a better role.

Too bad she plays her last scene without a head. Veteran Irish actor Dan O'Herlihy was cast as Conal Cochran, the owner of Silver Shamrock and the witch from the film's title a year-old demon in Kneale's original script.

I thoroughly enjoyed the role, but I didn't think it was much of a picture, no. The film was the directorial debut of Tommy Lee Wallace, although he was not a newcomer to the Halloween series.

Wallace had served as art director and production designer for John Carpenter's original Halloween and he had previously declined to direct Halloween II in Tommy Lee Wallace was incredibly helpful and open to discussion on dialogue or character issues.

Although the third film departed from the plot of the first two films, Wallace attempted to connect all three films together through certain stylistic themes.

The film's opening title features a digitally animated jack-o'-lantern, an obvious reference to the jack-o'-lanterns that appeared in the opening titles of Halloween and Halloween II.

Another stylistic reference to the original film is found in the scene where Dr. Challis tosses a mask over a security camera, making the image on the monitor seem to be peering through the eye holes.

This is a nod to the scene in which a young Michael Myers murders his sister while wearing a clown mask. Wallace's use of gore served a different purpose than in Halloween II.

According to Tom Atkins, "The effects in this [film] aren't bloody. They're more bizarre than gross. It's a fun movie with a lot of thrills in it; not a lot of random gratuitous gore.

New York Times film critic Vincent Canby notes, "The movie features a lot of carefully executed, comically horrible special effects.

The soundtrack was composed by John Carpenter and Alan Howarth , who worked together on the score for Halloween II and several other films.

Just as in Halloween and Halloween II , there was no symphonic score. Much of the music was composed to solicit "false startles " from the audience.

The score of Halloween III differed greatly from the familiar main theme of the original and sequel.

The music style of John Carpenter and myself has further evolved in this film soundtrack by working exclusively with synthesizers to produce our music.

This has led to a certain procedural routine. The film is first transferred to a time coded video tape and synchronized to a 24 track master audio recorder ; then while watching the film we compose the music to these visual images.

The entire process goes quite rapidly and has "instant gratification", allowing us to evaluate the score in synch to the picture.

This is quite an invaluable asset. One of the more memorable aspects of the film's soundtrack was the jingle from the Silver Shamrock Halloween mask commercial.

Eight more days 'til Halloween, Halloween, Halloween. Eight more days 'til Halloween, Silver Shamrock. He remarks, " 'Halloween III' manages the not easy feat of being anti-children, anti-capitalism , anti-television and anti-Irish all at the same time.

Roger Ebert wrote that the film was "a low-rent thriller from the first frame. This is one of those Identikit movies, assembled out of familiar parts from other, better movies.

Tom Milne of Time Out offered a more positive review, calling the title "a bit of a cheat, since the indestructible psycho of the first two films plays no part here.

PopMatters journalist J. Still, this could have been somewhat interesting, or at least not condemnable, had the film been any good.

It's not. Almost every time it starts to get to the point where we might actually become engrossed in the film, director Tommy Lee Wallace throws in something corny like Seriously, could the special effects look a little more fake, please?

I was just getting to the point where I could almost tell the robots from the real people Academics find the film full of critiques of late 20th-century American society, historian Nicholas Rogers points to an anti- corporate message where an otherwise successful businessman turns "oddly irrational" and seeks to "promote a more robotic future for commerce and manufacture.

Riveria's poster art featured a demonic face descending on three trick-or-treaters. His artwork was later featured on the cover of Fangoria in October The stylized face on the theatrical poster is actually a distorted image of the witch mask which appears in the film.

The image of the trick-or-treaters is similar to a shot in the movie that shows children in Phoenix, Arizona walking in silhouette with a red sunset in the background.

As part of a merchandising campaign, the producers requested Don Post to mass-produce the skull, witch, and jack-o'-lantern masks.

Post used the original molds for the masks in the film to mass-produce masks for retail sale. He speculated, "Because the masks are so significant to the movie, they could become a cult item, with fans wanting to wear them when they go to see the movie.

Factory , containing the same special features as their collector's edition DVD, which are a commentary, documentary, trailers, and still galleries.

The script was adapted as a paperback novelization in by horror writer Dennis Etchison writing under the pseudonym Jack Martin.

The book was a best seller and was reissued in Although Cochran dies in the film, the novelization implies that he may have survived, with the magic of Stonehenge transporting him to another location rather than killing him.

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