All 'Halloween' Films: A Ranking from Least to Greatest

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Ranked below are all the Halloween movies from worst to best.

13. 'Halloween: Resurrection' (2002)

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If humanity were to uncover the secrets of time travel, our first priority should be to return to the set of 1978's Halloween and inform John Carpenter that a rapper named Busta Rhymes will engage in a kung-fu battle with Michael Myers in a movie with a budget of $13 million, far from the original $300,000. Halloween: Resurrection, in essence, revolves around Michael Myers haunting a crew from an internet show filming in his former Haddonfield residence, which is not necessarily a bad premise. It can be enjoyable! However, the irony lies in the fact that a film titled Resurrection ends up feeling lifeless, even throwing Laurie Strode off a roof and proceeding with generic killings that could have been found in any horror movie released between 2001-2009. Nevertheless, it is Halloween, and every franchise is permitted one truly unforgivable installment.

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12. 'Halloween V: The Revenge of Michael Myers' (1989)

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Please note that the revised content is as follows:

Keeping hyperbole out of any film ranking is crucial. However, it is my calm and rational opinion that every individual responsible for including the slide whistle in this movie over the two inept cops should be immediately fired and launched from a cannon into the Pacific ocean.

While Halloween V: The Revenge of Michael Myers is not technically as terrible as its subsequent installment, The Curse of Michael Myers, the latter at least possesses a lively and eccentric quality that makes it somewhat intriguing. The Revenge of Michael Myers marks the descent of this story into banality, with the slasher series losing its original sharpness. The abysmal mask on Michael's face, the worst in the franchise, even suggests that he may be growing bored with his repetitive visits to Haddonfield every year. One can hardly blame him. Once again, he sluggishly pursues his niece, Jamie Lloyd (Danielle Harris), who has been deprived of both the captivating conclusion of Halloween IV and her own voice. Jamie is accompanied by her older companion, Tina Williams (Wendy Kaplan), Halloween's most memorable character (her name is incessantly shrieked throughout this film).

Halloween V manages to strike a balance between being dull and incorporating intriguing elements such as the enigmatic Man In Black and the developing psychic connection between Jamie and Michael, which adds an element of confusion. However, the issue arises when attempting to create a cliffhanger ending after already reaching a point of no return.

Nevertheless, one cannot deny the sheer hilarity found in the scene where Michael Myers humorously attempts to run over two children with a car for an extended period of time. This fact is indisputable.

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11. 'Halloween: The Curse of Michael Myers' (1995)

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It is a crime more heinous than Michael Myers' actions that a film could bear the credit "and introducing Paul Rudd" and still be so unpleasant. Halloween: The Curse of Michael Myers is akin to not knowing what to do with your hands in a public setting; it is a shockingly sweaty misinterpretation of what makes this franchise truly terrifying. Continuing from the jailbreak cliffhanger in The Revenge of Michael Myers, The Curse of Michael Myers ludicrously goes to great lengths to explain that Michael Myers is not merely a random man who could randomly appear at your doorstep and wield a knife to instill fear (which is genuinely scary), but instead, he is a pawn of an ancient Druid cult cursed with immortality and a supernatural compulsion to kill on Halloween night, specifically (which is just plain dumb!). And, to be fair, if the film had embraced its over-the-top absurdity, it could have at least been amusing to watch. However, director Joe Chappelle mostly oscillates between painfully dull and deeply disturbing. Regrettably, this would also be actor Donald Pleasance's final performance in a film, and despite his valiant efforts—and we know he tries—his talent cannot salvage the sheer monotony of this overly explained disaster.

The mask is amazing. I cannot possibly stop appreciating it. It's truly remarkable how they managed to closely recreate the terrifying emptiness of the original Michael Myers mask in the movie that completely strips away any factors that make the character intriguing.

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10. 'Halloween II' (2009)

To truly appreciate the disturbing allure of Rob Zombie's Halloween II, it is crucial to detach oneself from the notion that it is simply another Halloween film. Think of it as existing in a parallel universe. Liberated from the constraints of reimagining the original Halloween, Zombie injects three times the amount of his own creative vision into this sequel. The movie does not pretend to present Michael Myers as an enigmatic figure; instead, it aims to completely dissect his character, tearing away shreds of his mask to expose the man beneath. This film focuses intensely on the profoundly messed-up relationship between Myers and his estranged sister, Laurie Strode, played by Scout Taylor-Compton. Zombie also discards any reservations about displaying explicit violence; this rendition of Michael Myers is the most primal and savage incarnation ever depicted onscreen. His grunts and heavy breathing accompany brutal killings that are truly gruesome and unsettling, even if they occur within a dream sequence, such as the disturbing scene where he stabs Octavia Spencer repeatedly.

Overall, the movie's execution is as inconsistent as can be; Zombie's tendency to linger a tad too long on secondary characters engaging in repulsive conversations unrelated to the main storyline remains consistent. However, the filmmaker's unwavering commitment to turning this Halloween movie into something more than just a typical entry in the franchise cannot be denied. And when you can bear to keep your eyes open, the blown-out, almost nightmarish visuals possess a haunting beauty alongside their repulsiveness. This film may not be everyone's cup of tea, but it offers chilling and graphic commentary on the cyclical nature of violence.

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9. 'Halloween' (2007)

When it comes to remaking a classic by John Carpenter, hiring Rob Zombie seems like a logical choice, highlighting the diverse nature of the term "horror filmmaker." It's analogous to asking Wes Anderson to remake Animal House, given his expertise in comedies. However, Halloween (2007) faces the challenge of being torn between paying homage to Carpenter's original, which is a masterpiece of subtlety, and Rob Zombie's inclination to delve deeper into the darker aspects. The results end up feeling both unnecessary and overwhelming, as if the familiar picture has simply been coated with a new layer of dirt and grime.

The Halloween remake is at its best when it resembles a Rob Zombie movie. The extended opening, which explores the origin of Michael Myers, is polarizing. However, when seen independently from preconceived notions of Michael's character, it becomes a poignant tale of a boy transforming into a monster. Malcolm McDowell deserves a special mention for his outstanding portrayal of Loomis, a role that Donald Pleasence made iconic.

As the film tries to adhere to Carpenter's established beats, it loses much of its intrigue, with the only notable difference being the increased level of violence. It must be emphasized that this film is brutal, and Tyler Mane, like Kane Hodder, fully inhabits his role as a slasher, making it his own. Oddly enough, the movie shows little interest in exploring the implications of escalating brutality in a Halloween film. Consequently, when Laurie Strode (played by Scout Taylor-Compton) shoots Michael Myers at close range, it feels more expected than shocking.

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8. 'Halloween Ends' (2022)

Halloween Ends served as an inconsistent conclusion to a trilogy that itself had its ups and downs. Taking place four years after the first two installments of David Gordon Green's contribution to the franchise, Laurie Strode has settled into a quieta normal life. She now resides in a house with her granddaughter Allyson, who works as a nurse. Gone are the days of stockpiling firearms and setting booby traps; Laurie has even given up drinking. Instead, she has taken up baking and knitting, and surprisingly, even partakes in Halloween festivities. However, make no mistake, Laurie still retains her badass persona, only deploying it when truly necessary.

The movie lacks sufficient killing - it's a slasher film, so I anticipated a certain number of deaths. Additionally, a significant portion of the film focuses on the romantic relationship between Allyson and her troubled love interest Corey. While there are some questionable moments involving Michael Myers, I must admit that the ending is quite satisfying. I won't provide any further details as it would spoil too much, but based on my observation after the screening, hardcore Halloween movie enthusiasts disliked it, while those who weren't particularly invested in the franchise enjoyed it. If it didn't try to be a Halloween movie, it could have been a fantastic horror film. - Alyse Wax

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7. 'Halloween II' (1981)

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Halloween II serves as the longest post-credits scene ever made, seamlessly continuing the story right after Michael Myers' murderous spree involving three individuals. The plot centers around Laurie Strode (portrayed by Curtis), who is taken to the hospital where Michael becomes aware of the success of Friday the 13th and decides to make his kills even bloodier. While it may not be a terrible film, it does feel somewhat repetitive. However, its significant contribution lies in revealing the unexpected twist that Michael and Laurie are actually long-lost siblings. Carpenter, returning as co-writer and producer alongside Hill, has admitted that this twist was mostly a result of his frustration and intoxication due to the pressure of continuing a story that he believed worked perfectly as a standalone film. Undoubtedly, he is correct, as this brother/sister revelation opened the door for nonsensical lore that at times derailed the franchise.

Nevertheless, when considering Halloween II solely on its own merits, it remains a perfectly enjoyable slasher film. Additionally, it is worth noting that this is the only installment in the Halloween series to reuse the original mask, which proved to be a challenge for Hollywood in recreating for the following 40 years. Directed by Rick Rosenthal, who was unaware at the time that he would helm Halloween: Resurrection two decades later, the film pays homage to Carpenter's style and successfully utilizes the unsettling atmosphere of hospital corridors to create a sense of claustrophobia. However, one drawback is the excessive amount of time that Curtis spends confined to a hospital bed in this movie, an error that subsequent entries in the series, particularly those released many years later, would surely not repeat.

Ah.

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6. 'Halloween Kills' (2021)

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Halloween Kills is held back from reaching its full potential due to a few factors. Firstly, the random and aggressive chanting of "Evil dies tonight!" by ordinary individuals is quite amusing. It is unclear whether the movie, which intentionally includes numerous moments of humor, fully recognizes this. This initial issue sets the tone for the rest of the film. Halloween Kills, the second installment in an already planned trilogy, attempts to juggle two distinct identities. On one hand, it offers a poignant and relevant exploration of the dangers of mob mentality. On the other hand, it serves as a grim throwback to slasher films, where the primary focus is on creatively killing off a large number of unique characters.

There is nothing inherently wrong with combining both elements, but director David Gordon Green, along with co-writers Danny McBride and Scott Teems, fail to effectively bridge the gap. The story follows a group of survivors of Michael Myers' rampage, led by Tommy Doyle (played by Anthony Michael Hall) as an adult, who incites the residents of Haddonfield to engage in a violent and irrational frenzy. In contrast, the film occasionally switches to scenes of Michael nonchalantly carrying out his murders throughout the town. As someone who thoroughly enjoys slasher films, I have a remarkably high tolerance for characters making foolish decisions—it adds to their charm! However, it is worth mentioning that the characters in Halloween Kills are acting particularly foolish, resembling inebriated amateur athletes driving around in search of an eight-foot-tall boogeyman whom they are inevitably destined to fail to subdue.

The movie's tonal disconnect weakens its deeper points and gives it a sense of aimlessness. It's disappointing that it was intentionally designed to lack direction, serving as the middle part of a three-act story that can't fully commit. Unfortunately, this stagnant nature leads to Laurie Strode being confined to a bed for the entire duration.

However, I must admit that I really love the way Green and DP Michael Simmonds shoot Michael Myers during his killing spree. They manage to make the already tall James Jude Courtney look like a towering 12-foot-tall monster. Another aspect I really appreciate is the handcrafted and practical violence throughout the film. The use of CGI blood in modern horror has been a letdown, so it's refreshing to see a movie where the effects were achieved through genuine efforts of a group of people utilizing rubber and liquid latex to create believable eye-gouging scenes.

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5. 'Halloween' (2018)

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One of my boldest horror opinions is that we all got a little too obsessed with David Gordon Green's 2018 remake/continuation/retcon of Halloween. It's good, almost great, but not quite there yet. However, Green, along with co-writer Danny McBride—who would've made a perfect Michael Myers in this film—understands what makes Halloween so special. This movie perfectly captures the essence of Halloween by disregarding the convoluted lore of Halloweens 4-6 and the H20/Resurrection combo from the early 2000s. Halloween (2018) takes us back to the basics, revealing a Michael Myers who was captured on the night he returned to Haddonfield and has been institutionalized ever since. This approach transforms Halloween into a profound exploration of how trauma festers and consumes a person, brilliantly portrayed by Jamie Lee Curtis as Laurie Strode, who has lived in constant fear for four decades.

The movie was initially thrilling as the filmmakers truly understood what made Halloween terrifying. They discarded the supernatural aspect and instead focused on an evil so ordinary that it could invade anyone's happy home at any given moment. The scene where Michael goes from door to door in Haddonfield, causing chaos in a casual manner, is impeccably orchestrated. However, after some time has passed since the movie's exciting premiere, it becomes evident that it heavily relies on John Carpenter's original work, following the same formula without bringing anything new to the table.

Having said that, Jibrail Nantambu's performance deserves nothing less than an Oscar for Best Supporting Actor, and I refuse to entertain any arguments against it. (Except for the argument that it is true and more movies should feature Judy Greer shooting someone.)

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4. 'Halloween IV: The Return of Michael Myers' (1988)

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The image of a 68-year-old Donald Pleasence evading a truck-driving Michael Myers at a gas station, which then inexplicably explodes, perfectly captures the essence of Halloween IV: The Return of Michael Myers. Following the audience's rejection of the Michael-less Season of the Witch, everyone involved in the Halloween franchise recognized the need for Michael's triumphant return, and it had to be nothing short of a spectacle. Whether or not the resulting movie can be deemed "good" is up for debate, but there's no denying that The Return of Michael Myers is a schlockfest that can be endlessly enjoyed and even presents a potentially intriguing direction for the franchise. (One that unfortunately remained unexplored.)

Halloween IV stands out as the ultimate Halloween sequel solely centered around Michael Myers, the iconic horror figure. While lacking the involvement of Jamie Lee Curtis, the film shifts its focus to Laurie's daughter, Jamie, whose eerie connection to her murderous uncle brings out the true essence of a boogeyman from a child's worst nightmares. The movie may be a bit ridiculous at times, with Michael's new emotionless mask missing the mark, but it compensates with an abundance of exaggerated kills, including the unforgettable moments when Kathleen Kinmont is impaled to a wall with a shotgun and an unidentified power plant worker is effortlessly tossed aside. Director Dwight H. Little and the entire creative team fully embraced the absurdity, amplifying the experience and paying tribute to the characters envisioned by Carpenter and Hill, even if they fail to induce fear on the same level. While there are superior, more intricate, and more captivating Halloween sequels, Halloween IV undoubtedly reigns supreme as the quintessential portrayal of the legendary horror legend, Michael Myers.

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3. 'Halloween III: Season of the Witch' (1982)

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Halloween III: Season of the Witch might have received a warmer reception if the audience had been introduced to the anthology concept gradually. Perhaps something slasher-adjacent or similarly eerie would have been a better choice, as opposed to a sci-fi adventure featuring a deranged Halloween mask tycoon trying to murder children worldwide using mystical pieces of Stonehenge. Unfortunately, groundbreaking ideas are seldom embraced at their inception. Nevertheless, one of the most delightful aspects of modern horror fandom is the growing acceptance and appreciation of Halloween III, regardless of the absence of Michael Myers. Part of its enduring charm lies in the drastic departure from its two predecessors, with Tommy Lee Wallace, the production designer of Halloween, now assuming the director's role. Season of the Witch exudes the nostalgic vibe of a deteriorating VHS tape, a B-movie that relies heavily on practical effects and relishes its peculiar Twilight Zone-esque concept. Instead of bloody scenes, it showcases oozing substances; knife-wielding maniacs are replaced by murderous clockwork robots, and hapless teenage victims are swapped for the ever-ready-to-kick-ass Tom Atkins. (One of the most enjoyable aspects of Halloween III is the absence of doubt about whether or not Tom Atkins indulges in any romantic encounters.)

Do all of these things qualify as upgrades? It depends on who you ask, but the reality is as follows: 1) No, Halloween III does not include Michael Myers, 2) Yes, it is a peculiar choice after two movies featuring Michael Myers, and 3) Judged solely on its own merits, Halloween III: Season of the Witch offers an incredibly enjoyable movie experience. Looking back after four decades, it makes one contemplate the potential outcomes of a franchise that took daring leaps rather than relying on familiar patterns.

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2. 'Halloween H20: 20 Years Later' (1988)

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Halloween has now expanded into three separate timelines, resulting in numerous viewing orders where you can choose to include or exclude any sequel. In my opinion, the most satisfying and cohesive storyline in the franchise begins with Halloween (1978), followed by Halloween II (1981), and concludes with Halloween H20: 20 Years Later. This film features Jamie Lee Curtis reprising her role as Laurie Strode, Steve Miner directing, and Kevin Williamson writing the script. H20 provides both intense entertainment as a teen slasher from the early 2000s and a genuinely moving exploration of living with trauma for decades. It successfully combines the best elements of Halloween (2018) while offering something new.

In this film, Laurie Strode has been deeply affected since the tragic events of 1978. She has faked her death, changed her name, and relocated to California to work at Hillcrest Academy in order to protect her son, John (played by Josh Hartnett, whose hairstyle was likely the cause of much distress for young men in 1998). Despite facing constant fear, Laurie remains resilient. Jamie Lee Curtis delivers a wonderful performance as a Laurie Strode who lives with ongoing fear but refuses to let it define her. The fact that Michael Myers resurfaces at a point where he is no longer the most important thing in her life demonstrates the lasting impact of mental scars that may heal but never truly fade. Apart from the original film, the moment when Michael and Laurie confront each other on opposite sides of a round window, separated by a thin pane of glass and two decades of nightmares, is the most chilling in the entire franchise.

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1. 'Halloween' (1978)

In the digital era, the notion of objective truths tends to fade away when discussing pop culture. The exchange of opinions dominates, with no clear "right" or "wrong," but rather a subjective matter. However, I urge you to momentarily disregard this understanding, because the fact remains that John Carpenter's Halloween holds an indisputable position at the top of this list. This is not mere speculation but verifiable data, etched in stone. Any alternative scenario would be a fabrication, a deception. The gap between Halloween and its counterparts in the franchise world is as vast as the distance between an anthill and Uranus.

Since the reasons have already been extensively discussed over the past 43 years, it cannot be emphasized enough how Halloween's brilliance originates from its simplicity. A deranged individual with a knife returns to a town that mirrors your own, mercilessly slaughters innocent children who could easily be you, without any discernible motive. His "face" lacks any expression, remorse, or humanity. Carpenter, with significant assistance from producing partner Debra Hill and production designer Tommy Lee Wallace, takes this simplicity and transforms it into a powerful tool. He shrouds it in darkness, allows it to linger, and embeds it in your mind like the incessant drone of the iconic score. Just like Psycho, Italian Giallos, and Bob Clark's Black Christmas laid the foundation, Halloween culminates it with a terrifying figure. Much like Jaws did for the ocean, Halloween leaves a lasting impact on suburban settings. It unquestionably stands as one of the greatest movies ever created, transcending genres.

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Editor's P/S

1. Halloween: Resurrection (2002)

Halloween: Resurrection is the worst film in the franchise. It is a lifeless and generic slasher film that throws Laurie Strode off a roof and proceeds with generic killings.

2. Halloween V: The Revenge of Michael Myers (1989)

Halloween V: The Revenge of Michael Myers is not technically as terrible as its subsequent installment, The Curse of Michael Myers, but it is still a dull and uninspired film. The abysmal mask on Michael's face, the worst in the franchise, even suggests that he may be growing bored with his repetitive visits to Haddonfield every year.