Halloween V marks a decided decline in quality, and may be the weakest of the series thus far. The utterly tremendous conclusion to the prior film is completely done away with, exchanging pity for a little girl who should be picking up the mantle of a killer herself. Instead, a rather dull subplot with her apparent psychic connection to the original Myers, once again back from the dead, is shoehorned in to keep her relevant without pushing too many boundaries.

All in all it is a standard, dull affair, with paper thin characters easily poked through (and are, thankfully). Luckily, Donald Pleasance continues to own the show, and Dr. Loomis’ psychological theory of evil is now a fully formed scientific concept. It is impossible to count the times Loomis violently shakes little Jaimie, keeping audiences on the edge of their seats waiting for him to finally just kill her himself and close the circle.

A prolonged barn scene involving a litter of stray kittens and rollin’-in-the-hay sex should be a pivotal tonal change for the film, but the whole things takes far too long to set up with very little payoff, save for one girl’s desperate defense with a pitchfork bloodied by her now ex-boyfriend.

The Revenge marks the introduction to of the Curse of Thorn, a ham-fisted explanation of Myers boogey-man immortality that certainly adds an extra layer of interest that is regrettably barely explored. It fails, however, to hold any weight when held alongside Myers entire modus operandi of wanting nothing more than just kill his family. Is that too much to ask?

Everything wraps up just how it should to insure future profits, a rickety bridge that wraps up an arc that was loosing steam.


Luckily, the ’90s swoop in to the rescue, and the genuinely unnerving yet highly entertaining Curse of Michael Myers introduces us to creepy stalker Paul (Stephen!) Rudd, forcing us to question how we could ever see him as America’s handsome, bumbling guy next door. The Curse of Thorn is explored far more heavily, and while it continues to make no sense, the small town cult folk are always a pleasant sight.

The final act inexplicably takes place in some sort of industrial complex, and most jump scares are poorly edited shaky supercuts, but The Curse works as a bizarrely charming slice of early ’90s horror that tries to keep the spirit of the franchise (not the original) alive while simultaneously acknowledging it only exists to keep it relevant.

Dr. Loomis continues to serve as a steady rock on a stormy sea, his burn scar makeup mysteriously absent, Pleasance’s hair gone white and is all but the voice of reason (few screams of the word “evil” this time around). Myers has become the unstopping killer cursed to walk slowly towards victims that are not necessarily his sisters this time around, finally giving his intentions clarity (oddly enough). The Curse is one of the more interesting time capsules of horror around.