(I) (2018)

Critic Reviews



Based on 51 critic reviews provided by Metacritic.com
Halloween is a love letter to the original picture and entertaining on its own terms. Thrilling, atmospheric, and brutally violent, Green delivers exactly what fans want from the series and then some.
While no entry in the franchise has surpassed the original film, this Halloween sequel is truly a cut above the rest and a great piece of horror entertainment even for those unfamiliar with the series.
Long live Michael Myers, so maybe someone can finally kill him — in a big, funny, scary, squishy, super-meta sequel that brings it all back to the iconic 1978 original.
The picture has a good shock or two up its sleeve before getting to Laurie's armored, booby-trapped home, and once it's there, it surprises us again.
By contemporary horror standards, the original “Halloween” was actually quite tame, featuring just five (human) deaths, whereas this one more than triples the body count — and it does so with style, borrowing several of Carpenter’s classic devices...before getting into the more prosthetic-heavy mayhem that follows.
Green has made a slavish, sharply executed bit of fan service elevated by Jamie Lee Curtis’ transformation into a badass grandmother back to finish the job.
Halloween deserves credit for its efforts to balance old and new, for taking us back to Haddonfield in a way that isn’t purely for cheap nostalgia, but it’s hard to shake the feeling that there’s something more that it could have been achieved.
Halloween isn’t explicitly a horror-comedy, but it does have the destructive habit of undercutting its scares with broad laughs, Green and McBride deflating the tension at every turn with goofball asides.
There are some effectively nasty kills (this is no PG-13 reboot) and Green’s visual eye often results in some impressive imagery but both the look of the film and the script feel confused. Green can’t seem to decide whether he wants it to be gritty and lo-fi or slick and cinematic and so ends up awkwardly between the two, anything resembling an atmosphere sorely missing.
Slant Magazine
For all of the film’s attempts to get back to the sinisterly sidling Michael of the first Halloween, his stealth movements no longer terrify because his fixations are less unthinkingly instinctual, more compulsively mortal.

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