The second film in the new Halloween trilogy arrived this past Friday, following the critical and commercial success of the 2018 reboot. Expectations were high — the first film brought a grounded realism back to the franchise while setting up a climactic trilogy. So, did Halloween Kills match those expectations? Or does it fall victim to “middle movie syndrome”? Here’s a breakdown of what didn’t work, and what the film got right.
What Didn’t Work
The Supernatural Turn
One of the strongest aspects of 2018’s Halloween was its grounded approach — Michael Myers was terrifying precisely because he felt human. Halloween Kills moves away from that.
The finale sees Michael surrounded, beaten, and even stabbed in the neck, only to rise again. The film offers an odd explanation that he “feeds off violence” to become stronger. It’s a jarring deviation from the stripped-back realism fans appreciated in the previous instalment.
The Unnecessary Mental Patient Subplot
In a trilogy’s middle chapter, you can’t conclude the story, but you still need to keep momentum. Halloween Kills pads its runtime with a detour about an escaped mental patient.
This builds to a hospital scene that hints at a distraction for Michael to attack Laurie, but instead turns into social commentary on mob mentality. While thematically relevant, it adds little to the main plot and does nothing for character development.
Karen’s Death
It was clear one of the three Strode women would die before the finale — Laurie was needed for the final showdown, and Allyson looked destined for the “final girl” role, leaving Karen as the likely victim.
While her death sets up emotional stakes for Halloween Ends, its execution is rushed. It happens in the final seconds of the film, with no meaningful build-up or emotional payoff. For such a major character, it’s a disappointingly abrupt send-off.
What Worked
Brutal, Creative Kills
The film lives up to its name. Halloween Kills features some of the most violent, imaginative deaths in the franchise (barring Rob Zombie’s entries).
The gore is unflinching, the violence inventive, and the staging of each kill makes a visceral impact. For horror fans, it delivers on the slasher spectacle.
The Score & Sound Design
John Carpenter’s return to update his iconic 1978 score is a highlight. He subtly evolves the original theme, keeping its tension while adding fresh menace.
Beyond the music, the film’s sound design excels. Extended silences, unnerving breathing, and the grisly sound of each kill immerse the audience in Michael’s world.
Strong Supporting Cast
Anthony Michael Hall shines as an older Tommy Doyle, channelling trauma and rage into a believable performance.
Returning actors Kyle Richards (Lindsay Wallace) and Nancy Stephens (Marion Chambers) add nostalgia, while Big John and Little John bring unexpected dark comedy, giving the film moments of levity without undercutting the horror.
Thoughtful Fan Service
Nods to the original Halloween are plentiful but not overbearing. Cameos from original characters, callbacks in dialogue, and even returning actors give long-time fans a reward without alienating new viewers.
Sharp Writing & Well-Timed Humour
The script balances tension and character interaction well. Dialogue feels authentic, and moments of humour — tricky to pull off in slashers — are used sparingly and effectively. These lighter beats help pace the relentless violence.
Final Verdict
Halloween Kills doesn’t quite reach the grounded tension of 2018’s reboot and stumbles with unnecessary subplots, but it succeeds in delivering brutal kills, excellent sound design, and plenty of fan-pleasing moments. As a bridge to Halloween Ends, it’s a serviceable middle chapter that keeps the franchise’s momentum alive.
