violent but unscary, this clunking slasher film sees a franchise coasting on long-past glories; It all feels so rote and old-school, especially during such an exciting era for the genre
these nods to nostalgia are in keeping with the lazy impulse to give the audience exactly what it wants, while ignoring what the film actually needs. The narrative is saggy and chaotic; the acting histrionic; and the cinematography unremarkable
the results are more mangled and messy; The violence in "Halloween Kills" is gruesome and gory in a way that's so dull and unimaginative it almost doesn't register as unpleasant
no amount of perfect kills can save an inane sequel; Shot frenetically with delightful gore sequences, "Halloween Kills" adds no real path for Michael Myers' saga and crumples beneath its own misdirection
it has little to offer but a jacked up body count on a bed of fan service, it serves both with panache, charging forward as an almost elemental slasher outing unclouded by conscience, remorse, or delusions of morality
in absence of a coherent plot, the writers have seemingly decided to throw everything at this story in the hope that something might stick. The result is a shambolic, risible mess which is further hampered by a total absence of genuinely scary bits
head-scratching, unintentionally comedic, ludicrous developments in the thudding disappointment that is "Halloween Kills", the follow-up to the exciting and clever 2018 reboot/sequel; "Halloween Kills" is an inconsistent, sloppy mess
Halloween night may be Michael Myers' masterpiece, but “Halloween Kills” is no masterpiece. It's a mess -- a slasher movie that's almost never scary, slathered with "topical" pablum and with too many parallel plot strands that don't go anywhere
brutal, gory, overwrought, shapeless slasher sequel; Compared to his successful, well-crafted 2018 reboot, director David Gordon Green's sequel is its opposite: an unshaped, overwrought cacophony of shouting and dozens of tiresomely brutal killings
"Halloween Kills" is a film that so completely sucks the vitality out of John Carpenter's and Debra Hill's original vision that one would be tempted to call it a desecration if that didn't make it sound like more fun than it actually is
by Phil De Semlyen [Time Out New York ]
by Michael O'Sullivan [Washington Post ]
by Richard Roeper [Chicago Sun-Times ]
by Adam Solomons [HeyUGuys ]
by Oliver Jones [Observer ]
