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587 Ratings


Directed by David Gordon Green
United States, 2018
Horror, Thriller


Laurie Strode comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago.

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Halloween Directed by David Gordon Green
What’s even more offensive about David Gordon Green’s 2018 entry into the franchise are its vacuous attempts at fan service, its forced self-referential dialogue and clunky attempts at tongue-in-cheek humor, and its overall glossy, deflated, and superficial aping of John Carpenter’s scrappy and potent classic.
January 12, 2019
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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.
October 18, 2018
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Perhaps pandering to viewers who these days expect a higher yuck factor, this new iteration is more gruesome yet much less scary, its sleekness and efficiency poor substitutes for foreboding.
October 17, 2018
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What are people saying?

  • J. O.'s rating of the film Halloween

    Remembering watching this film is the only thing I remember about the experience. Another reboot, only the streak of originality here is that none of the other sequels and reboots and reboot-sequels ever happened. Generic homage with nothing memorable.

  • Duncan Gray's rating of the film Halloween

    The Carpenter version of our reboot time-loop: a faithful re-rendering by filmmakers who clearly love the original and have the skill to emulate its style, but lack the freedom/inspiration to add much beyond nostalgia. The theme of trauma is just enough to get past the pitch meeting. After that, it's a series of polished, predictable murder scenes. An acceptable back-to-basics fright night, but can't we do better?

  • Annalee's rating of the film Halloween

    Who had the idea to scrap the previous storyline(s) of ‘Laurie Strode, Headmistress of a private boarding school, single mother to one teenage son, which, by the way, both survived an attack by Myers’ -for whatever the hell this film was about? Ugh. More in comments.

  • Joks's rating of the film Halloween

    Can we all please quit pretending that David Gordon Green is a good director? This makes Halloween II (Zombie) look almost visionary by comparison. At least that took some risks and had a distinctive look. This has nothing.

  • Nicholas Gregory's rating of the film Halloween

    In horror, you don't realize how important atmospherics are until you see it done poorly. Here, the cheap digital aesthetic isn't used to an advantage in a film that should rely on a dangerous and foreboding palette. The black of the night is too inviting, the daytime has a saturated look. And Green's un-suspenseful creativity of the slash scenes is either hackneyed or undercooked. Bad humor and awful dialogue, too.

  • Palmat's rating of the film Halloween

    A frustrating and unfulfilling experience. The emotional reality of Strode´s life does not hit you as hard as it should and Green trades chills and suspense for levity and laughs every chance he can. All in all it is a good sequel but there are too many missteps considering the weight of expectations. The score and photo is however very good and the new Loomis is an interesting character. Sadly it is not scary...

  • Matthew Martens's rating of the film Halloween

    The enduringly chilling transfix of Carpenter's original score (given a few neat twists here) was the new Halloween's main draw and principal satisfaction for me. Otherwise, my expectations, fairly low, were well met by what amounts to a solid, engaging, enjoyably exasperating rematch between the first film's lead adversaries. The new Loomis' swerve acidly underlines Laurie's thesis: study evil less, destroy it more.

  • Ghostman's rating of the film Halloween

    Halloween is a confused film with serious problems. With Laurie back as a Sarah Connor-esque paranoid, the film is as pro-gun as they come & while there are a few scenes attempting self-reflexivity towards this issue, it is too little. When Myers returns, it just validates Laurie's authoritarian, regressive ways. The film's finale promotes a right-wing message of vigilantism & paranoia, justifying the unjustifiable.

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