Critic Consensus: Halloween largely wipes the slate clean after decades of disappointing sequels, ignoring increasingly elaborate mythology in favor of basic - yet still effective - ingredients.
Tickets & Showtimes
Watch it now
as Laurie Strode
as Karen Strode
as Allyson Strode
as Michael Myers
as The Shape
as Dr. Sartain
as Cameron Elam
as Warden Kuneman
as Sheriff Barker
as News Reporter
as Phineas Boggs from Voyagers!
as Jeffrey Jones from Voyagers!
News & Interviews for Halloween
Critic Reviews for Halloween
A brutal rumination on intergenerational pain, and the ways that male cruelty can make good women bad.
There are gaping plot holes and characters make idiotic decisions, but watching three generations of women take on Myers-with some great callbacks to the original-is irresistibly satisfying.
It lays on the dread with finesse before turning the tables in mostly creative ways.
In other words, like [Brad] Jones, I agree that this is the best Michael Myers-based "Halloween" movie since 1981's "Halloween II."
Audience Reviews for Halloween
The unfortunately named Halloween has been released, and in doing so has created an entirely new fifth timeline in the Halloween franchise. It's a decent timeline this one, makes a lot of sense. Not perfect, pretty expected run of events, but yeah, good. Gonna throw myself under the bus once more by yet again mentioning my love for the Rob Zombie Halloween films, but here goes anyway: Seems interesting that a decent chunk of the same people who hate those Rob Zombie movies (99% of all horror fans), love this movie, despite some scenes in the 2018 Halloween seemingly being ripped straight from Mr. Zombie himself.
There is a big difference between paying tribute and recycling, and so it shocks me that, after 40 years of crappy sequels and more slashers, people still don't get what made the original film so good, with this being just another unoriginal bundle of clichés full of dumb characters.
A TRICKY TREAT - My Review of HALLOWEEN (3 1/2 Stars) There's something exciting about the fact that the original HALLOWEEN from 40 years ago has a sequel of the same title which ignores the not-great, countless sequels in between. I mean, I barely care about this new one, so it's hard to acknowledge that anything memorable happened after the first one. For those who forgot John Carpenter's first, Halloween night finds a group of horny teenagers picked off one by one by Michael Myers, a knife-wielding, seemingly indestructible psychopath in a haunting white mask. In the end, Laurie Stode (Jamie Lee Curtis) our final girl, one of the endless tropes this film seems to have spawned, cowers in terror as Myers disappears into the night to haunt her forever, As the new film, directed by the very capable David Gordon Green, opens, in a beautifully tense sequence, two English podcasters attempt to interview Myers, who has been chained up inside an asylum. When an exposition dump announces his imminent transfer to another facility, we know for a fact that it won't go well for anybody but Mr. Myers. Our podcasters, a delightfully soooo English Rhian Rees and Jefferson Hall, move on next to attempt to interview Strode, who has holed herself up in a compound likely to make even the Unabomber jealous. The veritable poster child for PTSD, Strode only has time for her guns, her well-stocked hidden basement, and her constant warnings to her daughter Karen (Judy Greer) and grandchild Allyson (Andi Matichak). While Karen wants no part of her mother's paranoid delusions, Allyson remains sympathetic. Good thing, because, not a big spoiler here Michael escapes and returns to terrorize our peaceful little hamlet on...duh...Halloween. What follows is set piece after set piece of brutal murders and narrow escapes. You've seen it all before. Even THE WALKING DEAD opened with the killing of a child, so when it happens here, it's not as shocking. Although did they really need to code the first child victim as "gay"? Green and his co-writers Danny McBride and Jeff Fradley didn't really need to go there, but I must say the child actors in this kinda kick ass. There's not much else to the movie, although Curtis really excels here. Once a scream queen, she's now a full-bodied warrior filled with vivid neurotic tics and a roar instead of a screech. Greer and Matichak also do wonderful work, helping show three generations of trauma perpetrated by one nasty bogeyman. In fact, more than the original, this film find its heart in its exploration of trauma. It also has a callback moment to the original (you'll know it when you see it) which caused a spontaneous eruption of applause from the Writers Guild audience. The Writers Guild audience applauded. They don't like anything. Let that one sink in. That moment is actually more than just a callback. It allows this new HALLOWEEN to stand on its own as a film about a victim becoming the monster, the cycle of violence passed on from one to another. There's another callback shot a few minutes later which solidified this theme, reversing the positions of two main characters. In the end, it's still a slasher film, but with good kills in a filthy bathroom and looking through the window of a suburban home. Green adds his own loose, indie style to give the film a little more real feel and adds a true point of view. It won't change the world, but it goes down much better than candy corn.
There are no approved quotes yet for this movie.