Halloween (2018)

Coming to Cinemas 18 October 2018

Jamie Lee Curtis returns to her role in the sequel to the classic horror, set 40 years after the events of the first movie.

Laurie (Curtis), haunted by Michael Myers since she narrowly escaped his killing spree on Halloween night four decades ago, must confront him one last time when he finally escapes the asylum in which he's been locked up since.

This film, the 11th film in the Halloween series, will ignore the events of all previous sequels.

A scene near the beginning of this Halloween sequel sees one millennial comment about the horrible events in the first film. "It's not that big of a deal," he arrogantly assumes, arguing that the bigger and more complex terrors in the modern world trump one lil' ol' killing spree from 40 years ago. This tight, fat-cutting, balled-up fist of horror goodness goes out of its way to prove that young dumbass wrong—and it succeeds.

Director David Gordon Green understands that we shouldn't try to understand Michael Myers (commit this to memory, Rob Zombie). Rather, he forces the audience to observe and interpret Myers' straightforward actions through unsettling one-shots and moments of sustained suspense. He seemingly only dedicates his brain processing power to effective killing, a man more Predator than any Predator from this year's The Predator. Such emotionless-yet-calculating behaviour was scary back in 1978 and it's still scary today.

Of course, he can't be Michael Myers without his ninja-level sneaking skills. It still seems silly that a 2-meter-tall man could make less noise than A Quiet Place, though the film's consistently casual sense of humour makes it easier to swallow. A babysitter's candid discussion about weed with the child she's looking after will get crowds chuckling.

Really though, it's Jamie Lee Curtis who makes Halloween a standout. Her return as Laurie Strode comes with the character's trauma carried throughout the decades. Riddled with anger, fear, sorrow, resentment, and anticipation, Curtis swirls a complex range of emotions that brings rise to one hell of a performance. Laurie is a paranoid victim, a flawed mother, a loving grandmother, but above all else, an endearing hero. These heavy, well-examined qualities give significant depth to a simple story and anchors one of the more memorable climaxes in modern horror.

Hollywood Reporter


Carpenter should be pleased, and so should genre buffs - for once, this is a pic their less geeky girl/boyfriends should enjoy.

The Guardian


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.

TimeOut (New York)


That's a great reason to remake it: Everyone's waving around a gun these days, and the idea that the survivor of the so-called "Babysitter Murders" is, 40 years later, a militia-worthy nut with murderous instincts of her own has a sad symmetry to it.

Total Film (UK)


The latest Halloween instalment is fun while it lasts, but unlike its predecessor, it's not a classic for the ages.

Variety (USA)


Green has pulled off what he set out to do, tying up the mythology that Carpenter and company established, while delivering plenty of fresh suspense - and grisly-creative kills - for younger audiences...