Updated: Sep 10
The first reviews from critics and fans alike have begun appearing online following the film's premiere at Venice Film Festival. Whilst the film has been slated by a few critics, the general talk about Kills seems positive. There will be spoilers in this article and any reviews that I link to this article, so read on at your own risk.
Michael fights to claim another victim in new image courtesy of Fandango.
Forty years after John Carpenter made the defining slasher movie, director David Gordon Green has made a creditable stab, as it were, at reanimating the title.
- Jonathan Romney, The Guardian.
The thing about #HalloweenKills is that it's the Infinity War of the Halloween franchise. Make of that what you will. The nods to the original film and the expanded cast are great and the kills are as cruel and savage as you'd hope for, it just doesn't fully work. But when Michael is out on the hunt, Halloween certainly Kills. #HalloweenKills is a darker, meaner, more disturbing entry in the franchise. The kills are absolutely brutal and shocking in the best way. It was great seeing old characters again, and there is a flashback that blew my mind. Sadly, this is 100% half a film, and it ends abru...
[Halloween Kills] takes the slash in "slasher" up to a thousand and it's all the better for it. Halloween Kills is a blood-filled roller coaster of a film. Not only will it leave everyone yearning for a conclusion, which they’ll get, but it also leaves a lasting, memorable impact.
- Ben Rolph, Discussing Film.
Halloween Kills certainly feels like more Halloween. But the game board is left exactly as it was found it in readiness for round 13; the only thing that advances is the body count. Following on from 2018’s slate-wiping sequel, this 12th entry in the franchise has an authentic slasher texture but little new to say.
- Robbie Collin, The Telegraph.
HALLOWEEN KILLS is the gnarliest of the lot, but I’m not really sure who it’s for: franchise fans will feel alienated by its awkward politics, despite the homage-heavy style; I guess casual audiences might enjoy the splatter. Still get chills from the skeletal synths. #Venezia78
- Jack King via Twitter.
Just watch the corpses pile up in Halloween Kills! Never was there a film truer to its name. They’re sliced up with kitchen knives, hollowed out with a fluorescent strip light, bisected with a chain saw and impaled on banisters. The body count is phenomenal. We love this stuff. You know we do.
- Stephanie Bunbury, Deadline.
An almost elemental slasher outing unclouded by conscience, remorse, or delusions of morality. Little more to offer than a jacked up body count on a bed of fan service.
- Ben Croll, IndieWire.
#HalloweenKills it's a movie roller coaster, full of blood with some of the most twisted deaths the slasher franchise has ever created.
Gente Geek via Twitter.
Competent and generally pretty entertaining...Will stand in good stead with horror audiences, even if it hardly sets the genre alight.
- Wendy Ide, Screen Daily.
This latest installment is like a latex ghoul mask so stretched and shapeless it no longer fits. In this second part of a trilogy spun out of the rebooted property Green has made exactly the kind of witless, worthless sequel that bled the franchise dry in the 1980s and ’90s.
- David Rooney, The Hollywood Reporter.
It all feels so rote and old-school, especially during such an exciting era for the genre. Blood-caked, lumbering, seemingly unstoppable: Halloween is the franchise that refuses to die. Forty-three years and 12 movies on – with a 13th to come in Halloween Ends – the latest instalment is a bland slog of a reboot sequel with the same old gore but no new moves. If it doesn’t bleed out soon, it may outlive us all.
- Philip De Semlyen, TimeOut.
“Halloween Kills” is no mere gore-fest — it’s about the generational trauma bestowed upon Haddonfield. The action sequences are more than just action sequences; in Green’s social allegory, they are a way for citizens to confront their trauma, their rage, their oppression, and to reclaim their power and agency through revenge. We see Haddonfield not just as a victim of a masked assailant, but also a victim of larger forces who will stop at nothing to dehumanize their community. For all the deep and troubling psychoanalysis of this film, it’s also a textbook “Halloween” movie. Green seems less interested in rewriting the “Halloween” playbook than in giving audiences what they came for, from ghastly scares to a ghoulish score. It’s a strategy that promises to make the series as immortal as Michael Myers himself.
- Asher Luberto, The Wrap.
It's a mess - a slasher movie that's almost never scary, slathered with "topical" pab