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"I enjoy playing the audience like a piano." — Alfred Hitchcock

So does John Carpenter . “Halloween” is an absolutely merciless thriller, a movie so violent and scary that, yes, I would compare it to “ Psycho ” (1960). It's a terrifying and creepy film about what one of the characters calls Evil Personified. Right. And that leads us to the one small piece of plot I'm going to describe. There's this six-year-old kid who commits a murder right at the beginning of the movie, and is sent away, and is described by his psychiatrist as someone he spent eight years trying to help, and then the next seven years trying to keep locked up. But the guy escapes. And he returns on Halloween to the same town and the same street where he committed his first murder. And while the local babysitters telephone their boyfriends and watch “The Thing” on television, he goes back into action.

Period: That's all I'm going to describe, because “Halloween” is a visceral experience -- we aren't seeing the movie, we're having it happen to us. It's frightening. Maybe you don't like movies that are really scary: Then don't see this one. Seeing it, I was reminded of the favorable review I gave a few years ago to “ Last House on the Left ,” another really terrifying thriller. Readers wrote to ask how I could possibly support such a movie. But it wasn't that I was supporting it so much as that I was describing it: You don't want to be scared? Don't see it. Credit must be paid to filmmakers who make the effort to really frighten us, to make a good thriller when quite possibly a bad one might have made as much money. Hitchcock is acknowledged as a master of suspense; it's hypocrisy to disapprove of other directors in the same genre who want to scare us too.

It's easy to create violence on the screen, but it's hard to do it well. Carpenter is uncannily skilled, for example, at the use of foregrounds in his compositions, and everyone who likes thrillers knows that foregrounds are crucial: The camera establishes the situation, and then it pans to one side, and something unexpectedly looms up in the foreground. Usually it's a tree or a door or a bush. Not always. And it's interesting how he paints his victims. They're all ordinary, everyday people -- nobody's supposed to be the star and have a big scene and win an Academy Award. The performances are all the more absorbing because of that; the movie's a slice of life that is carefully painted (in drab daylights and impenetrable nighttimes) before its human monster enters the scene.

We see movies for a lot of reasons. Sometimes we want to be amused. Sometimes we want to escape. Sometimes we want to laugh, or cry, or see sunsets. And sometimes we want to be scared. I'd like to be clear about this. If you don't want to have a really terrifying experience, don't see “Halloween.”

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Halloween (1979)

Donald Pleasence as Loomis

Jamie Lee Curtis as Laurie

Nancy Loomis as Annie

P.J. Soles as Lynda

Nick Castle as The Shape

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Every Halloween Movie Ranked

For Laurie Strode, it’s been a long road back to Haddonfield. After surviving the original night of terror against Michael Myers in the original 1977 Halloween , she has entered the slipstream of alternate timelines, at points lighting him on fire, decapitating him, or getting thrown off a roof by him. Meanwhile, other Halloween movies have her institutionalized, or shot dead by the police. One even ignores her existence completely, offering annoying TV commercial jingles and magic Stonehenge rocks in her place. (That was Halloween III: Season of the Witch by the way.)

Halloween (1978) 96%

Halloween (2018) 79%

Halloween H20: 20 Years Later (1998) 55%

Halloween III: Season of the Witch (1982) 50%

Halloween Ends (2022) 40%

Halloween Kills (2021) 39%

Halloween 4: The Return of Michael Myers (1988) 39%

Halloween II (1981) 33%

Halloween (2007) 28%

Halloween II (2009) 25%

Halloween 5: The Revenge of Michael Myers (1989) 12%

Halloween: Resurrection (2002) 10%

Halloween: The Curse of Michael Myers (1995) 8%

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Halloween (I) (2018)

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Critic’s Pick

‘Halloween’ 1978: The Times Finally Reviews a Horror Classic

By Jason Zinoman

• Oct. 17, 2018

When “Halloween” was released in October 1978, The New York Times didn’t review it. But it wasn’t out of snobbery. Printing press workers were on strike, and nothing was being published (not even the news of a new pope). Vincent Canby, the chief film critic then, did circle back to the movie the next year, but we’ve never given this horror classic a proper review. So, with a new “Halloween” due Friday, we asked Jason Zinoman to rectify a 40-year oversight.

The original “ Halloween ” always struck me as an experimental art film in a bloody exploitation mask.

John Carpenter’s relentlessly terrifying masterpiece about babysitters and the murderous Michael Myers has been imitated, paid homage to and remade (an update of the original opens Friday) so many times since its premiere in 1978 that its radicalism is easy to overlook. Michael Myers is not like other movie monsters. He doesn’t lurch or creep or race. He walks, steadily. His physicality and clothes tell you nothing about him. He never speaks and offers no hint of a motivation for his killing spree. He is not a character so much as an absence of one, an abstraction in the middle of a mundane slice of suburban life.

[ Read our movie review of the new Halloween remake starring Jamie Lee Curtis. ]

What little the movie tells us about this founding father of the slasher film comes from Dr. Loomis, his former psychiatrist, played with brio by Donald Pleasence. “I was told there was nothing left,” he says about Myers. “No reason, no conscience, no understanding.”

Michael Myers’s mask isn’t hiding anything. It is all there is.

Most great horror monsters are stand-ins for some cultural anxiety like fear in the atomic age or scientific overreach or racism. Part of the reason “Halloween” has aged so well — when it screened at a Times Square theater this month, the crowd still gasped and screamed — is that it plays no topical notes and wastes little time on character development, plot, theme or any other elements extraneous to the critical business of sending shudders down your spine.

It’s tempting to be cynical or dismissive about this bare-bones moviemaking. In this paper, Vincent Canby wrote that the movie aimed so low, “analysis has no place.” In her New Yorker review, Pauline Kael called “Halloween” just “dumb scariness.”

“Halloween” certainly is ruthlessly simple, pivoting between a group of teenage girls talking about and having sex and the perspective of a sociopathic killer who escaped from a hospital to terrorize them. Some have read conservative sexual politics into the story, and Carpenter has spent decades denying that he was trying to punish the promiscuous, a tough case to make when (spoiler alert!) the girls who have sex are killed while the virgin survives. A moralistic streak, not to mention a prurient one, is buried in the DNA of cheap horror that is part of this movie.

But what’s onscreen is a marriage of commerce and art. The marketable standby of a killer stalking scantily clad women is elevated by elegantly orchestrated camerawork that keeps you disoriented, moment by moment, as the beating notes of the soundtrack remind you something bad and unstoppable is on the way. From the first shot to the last, this movie is confidently guided by a specific and committed vision.

Carpenter was no novice. You can see the hallmarks of “Halloween” in his previous work, including two genre movies — “Dark Star” and “Assault on Precinct 13” — that also featured unmotivated killers, as well his screenplay for “Eyes of Laura Mars,” which is about a fashion photographer who via a psychic connection suddenly starts seeing through the eyes of a serial killer. But “Halloween” was a purer and more uncompromising example of his brand of suspense filmmaking.

The precision and timing of the movie’s chilling chase scenes reveal an artist who understands that truly resonant scariness could not be dumb. It required deft craft and a coherent perspective on fear. Horror common wisdom states that the scariest evil is unknown, inexplicable and random; once the monster is revealed in a movie and the mind makes sense of it, much of the fear it inspires dissipates. So keeping Michael Myers a blank navigates around this problem. But he’s not the only void here.

Carpenter pointedly ends the movie with a montage of empty spaces: Bare rooms, abandoned streets, a darkened house. His signature propulsive synthesizer music, which has become perhaps his most influential aesthetic contribution to the current vogue of horror, is playing as the breathing of Michael Myers gets louder. You hear the air go in his mouth and then escape. He’s everywhere and nowhere.

Decades before “Scream” ushered in the trend of horror movies that knowingly commented on themselves, “Halloween” adopted a wry self-consciousness that constantly drew attention to itself. By casting Janet Leigh’s daughter, Jamie Lee Curtis, as his heroine, Laurie Strode, Carpenter invites comparisons to “Psycho,” which starred Leigh. Curtis, making her film debut, turned out to be a natural, delivering a persuasive performance of operatic panic that suggested a ferocious core.

The movie repeatedly places the viewer in the perspective of the killer, but it also often puts Michael Myers near the audience, lurking at the corner of the screen with his back to us like the characters in “Mystery Science Theater 3000.” Michael likes to watch, and he often seems more interested in a good scare than an efficient kill. In one memorable scene, he stages a grave for one of his victims, and when Laurie discovers it, two other corpses pop out at her, a jury-rigged spectacle. If Michael Myers betrays any personality at all, it’s as a showman of scares, albeit a much cruder one than John Carpenter.

In horror, the jack-in-the-box scare (think of the head floating out of the boat in “Jaws”) is the quickest way to get a scream, but the still shocks (the twin girls in “The Shining”) are the ones that linger with you. “Halloween” has them both, but it specializes in the second.

After the credit sequence, “Halloween” takes the point of view of a 6-year-old Michael Myers. It’s not as famous as the virtuoso tracking shot, but the most jarring moment occurs after the boy steps outside and his mask is pulled off. As the camera recedes, his parents stare at him, barely moving, while Michael gazes into the distance. This paralyzed threesome just stands there for nearly 30 seconds. It feels like a crazily long time, escalating tension and turning this scene into a stylized uncanny, a simulacrum of a freeze frame.

It’s an odd choice — to hold the pause this long — but it’s the kind of unpredictable one that makes this movie such an unsettling and fascinating classic.

Halloween Rated R. Running time: 1 hour 31 minutes.

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Halloween review – a slasher classic you just can’t kill off

I n his brilliant turn-of-the-century documentary The American Nightmare , Adam Simon located John Carpenter’s 1978 Halloween as the end point of a decade of countercultural horror movies. Starting with George Romero’s 1968 Night of the Living Dead , Simon unpicked the rebellious socio-political threads of films such as Last House on the Left , The Texas Chain Saw Massacre and Shivers before arriving at the more conservative inflections of Carpenter’s ruthlessly efficient modern morality tale.

A stylishly suspenseful thriller in which teenagers indulging in illicit sex and intoxication are stalked and slashed by a relentless killer, Halloween was a funhouse ride with a puritanical narrative edge. (“I didn’t mean to put an end to the sexual revolution,” Carpenter laughingly told Simon, “and for that I deeply apologise.”) Yet it also had a punky power that inspired a slew of titillating teen-terror slashers. Friday the 13th may have lifted its gory riffs from Mario Bava’s A Bay of Blood (just as Carpenter looked back to Bob Clark’s Black Christmas ), but it was Halloween that paved the way for its blockbuster success.

A string of inferior sequels and reboots followed Carpenter’s low-budget hit, from Rick Rosenthal’s 1981 Halloween II (written by original screenwriters Carpenter and Debra Hill) to Rob Zombie’s dreary 2007 “reimagining” and its dispiriting follow-up. Now David Gordon Green, whose career has swerved from Terrence Malick-esque indie-hit George Washington to the stoner comedy of Pineapple Express and Your Highness, retreads familiar ground with added PTSD.

Like the 20th-anniversary outing Halloween H20 , which effectively overrode instalments four to six (the superior Halloween III: Season of the Witch follows an entirely separate narrative), this latest incarnation effectively dumps the sequels and simply picks up 40 years after the events of the first film, with surprisingly sprightly results.

Former knife-wielding maniac Michael Myers (James Jude Courtney, with contributions from the original’s masked-madman Nick Castle) is now in a mental institution, serving his incarceration in silence. Meanwhile, survivor and “final-girl” archetype Laurie Strode (Jamie Lee Curtis, terrific) is living in a remote home-cum-security-compound. Haunted by the murderous spectre of Myers (aka “the shape”), Laurie’s paranoia has taken its toll; she’s seen her marriages collapse, become estranged from her daughter, Karen (a sharply cast Judy Greer), who was taken away as a child, and now fears for the safety of her teenage granddaughter Allyson (Andi Matichak). As Laurie tells the annoying podcasters who show up looking for a story: “I’m a basket case.” When Michael escapes during transfer to a maximum security prison (a nod to Halloween 4 ?), Laurie is hardly surprised. “He’s waited for me,” she says. “I’ve waited for him…”

Sharing writing credits with Danny McBride and Jeff Fradley, Green delivers a slickly packaged modern slasher that balances wry humour and knowing genre call-backs with moments of 18-rated gore and some efficiently executed showdowns. There are plenty of homages to the first film, from the signature floating shots that follow Michael’s killing spree to Carpenter’s insistent 5/4 semitonal score, revisited here by the maestro in collaboration with his son, Cody Carpenter, and godson Daniel Davies. But while the Shape’s iconic visage (originally a William Shatner/Captain Kirk mask) may have been elegantly aged and decomposed, the “pure evil” of Michael’s quasi-supernatural quest retains a quaintly unreconstructed retro feel.

What has changed is Curtis’s avenging angel, pitched somewhere between the reborn strength of a Terminator 2 -era Sarah Connor (vests and shotguns to the fore) and the obsessive madness of Donald Pleasence’s now deceased psychiatrist Dr Loomis. While Haluk Bilginer’s Dr Sartain may be sarcastically dismissed by Laurie as “the new Loomis”, it’s Strode herself who actually wears that mantle. And, in the absence of Pleasence, she wears it well. “If the way I raised your mother means that she hates me but she’s prepared for the horrors of this world,” Laurie tells her granddaughter ominously, “I can live with that.”

Fans will enjoy the smart inversion of key scenes from the original, with cinematographer Michael Simmonds repeatedly framing Laurie and Michael as interchangeable mirror-images – hunter and hunted – intertwined. Whether or not the new Halloween is actually scary is a matter for debate; there’s nothing here as shocking as the opening act of Hereditary , or as original as Wes Craven’s New Nightmare , which brilliantly resurrected the long-moribund spectre of Freddy Krueger in 1994. Yet after four decades of diminishing returns, the fact that a guy in a mask can still take an entertaining stab at a somewhat jaded audience is oddly reassuring.

• Halloween (2018)
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Halloween (2018), common sense media reviewers.

Satisfying horror sequel has tons of blood, strong language.

A Lot or a Little?

What you will—and won't—find in this movie.

Underlying themes of loyalty and protecting your f

Women are menaced, but they're also the movie's st

Tons of slasher-movie violence. Stabbings, head sm

Brief bare breasts. Teens start to hook up but get

Persistent strong language, especially "f--k" and

The main character drinks to self-medicate, includ

Parents need to know that Halloween is a direct sequel to the iconic same-named 1978 slasher film that ignores every other sequel and reboot (all nine of them). Survivor Laurie Strode (Jamie Lee Curtis), now a grandmother, has been single-mindedly preparing herself for the day that masked killer Michael Myers…

Positive Messages

Underlying themes of loyalty and protecting your family, but this isn't intended to be a message movie.

Positive Role Models

Women are menaced, but they're also the movie's strongest and smartest characters (not counting the killer's near-supernatural strength, of course).

Violence & Scariness

Tons of slasher-movie violence. Stabbings, head smashings, bludgeonings, cars used as weapons, shootings, impalings, trapping someone in a fire. Mangled, beheaded corpses shown. Teens are killed, as is a young child. Teeth are forcibly removed and then distributed. Lots of blood.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Brief bare breasts. Teens start to hook up but get interrupted.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Persistent strong language, especially "f--k" and "motherf----r." Other words include "ass," "bitch," "s--t," "hell," "goddamn," etc.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

The main character drinks to self-medicate, including once in a comic context. Teens drink/get high at a dance. Smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Halloween is a direct sequel to the iconic same-named 1978 slasher film that ignores every other sequel and reboot (all nine of them). Survivor Laurie Strode ( Jamie Lee Curtis ), now a grandmother, has been single-mindedly preparing herself for the day that masked killer Michael Myers would come for her again. Spoiler alert: He does. Expect graphic, very gory slasher violence and strong language ("f--k," "s--t," etc.) throughout the movie. The brutal killings include stabbings, slashings, impalings, beheadings, bludgeonings, and more. There's also brief nudity, teen sexuality, smoking, and some drinking/drug use by both adults and teens. The movie is directed by indie star David Gordon Green and co-written by Green and Danny McBride . Will Patton and Judy Greer co-star. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (60)
• Kids say (91)

Based on 60 parent reviews

Breasts are onscreen for 2 seconds while characters kiss. Violence, cursing.

What's the story.

Exactly 40 years after the massacre depicted in 1978's Halloween , killer Michael Myers (Nick Castle/James Jude Courtney) continues his silent incarceration. And survivor Laurie Strode ( Jamie Lee Curtis ) continues her single-minded preparation for his return. Laurie's estranged daughter, Karen ( Judy Greer ), thinks she's crazy. Laurie's granddaughter, Allyson (Andi Matichak), wants to reconcile the family rift but has her own teen problems. And Michael is finally ready to let his blade (and hammer, and poker, and whatever) speak. Happy HALLOWEEN!

Is It Any Good?

Though it doesn't quite recapture that 1978 lightning in a bottle, this sequel is, in just about every way, the best made of the series. This Halloween is true to what made the original so memorable, while simultaneously representing a massive filmmaking upgrade. Director David Gordon Green creates creepy tension with camera angles and blurry figures casually moving through backgrounds. Characters and relationships have actually been considered. And, wisely, franchise entries number two through nine have been discarded, while the ending of the original has been tweaked so that Michael was captured. Curtis' Laurie, 40 years later, is a self-medicating PTSD sufferer. But instead of going into a catatonic shell, she's honed a rock-hard one, undergoing a more realistic Sarah Connor-like transformation to become a survivalist who never stops looking over her shoulder.

As co-written by frequent collaborators Green and Danny McBride , Halloween is rife with sly references to the franchise and meta touches (such as a kid telling his beloved babysitter not to go upstairs to see if there's a killer there: "Send Dave up first!"). Fans will appreciate the well-placed shot references to the original. Michael is actually played by the 1978 actor (and a stuntman). Inescapable '80s crush P.J. Soles, who met a grisly end in the original, has a cameo. Make no mistake, though: This film is straight-up horror, and its violence is extreme. But this Michael, though improbably stealthy, isn't the unkillable demon of the sequels. He gets hurt, he can be slowed, and intelligence can work effectively against him. And, in perhaps the film's most significant break from tradition, the female characters -- while menaced by a male stalker -- are the smartest and strongest ones in the film. It's creepy, tense, fun; violent as hell; and downright feminist. This alternate-universe-sequel Halloween takes its place among the more respectable entries of the slasher genre.

Talk to Your Kids About ...

Families can talk about the extreme violence in Halloween (2018). Are all types of movie violence the same? Do some kinds have more impact than others?

The movie's female characters are the objects of pursuit by a stalking killer, but they're also the smartest and emotionally strongest characters in the film. Is Halloween feminist?

This movie "retcons" (makes adjustments to retroactively justify continuity) all of the previous Halloween movies, including the original. You've heard of reboots, sequels, and re-imaginings ... which is this? Does it work? Why do you think they broke so boldly with the other films?

Movie Details

• In theaters : October 19, 2018
• On DVD or streaming : January 15, 2019
• Cast : Jamie Lee Curtis , Judy Greer , Andi Matichak
• Director : David Gordon Green
• Inclusion Information : Female actors
• Studio : Universal Pictures
• Genre : Horror
• Run time : 109 minutes
• MPAA rating : R
• MPAA explanation : horror violence and bloody images, language, brief drug use and nudity
• Last updated : October 12, 2023

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‘halloween’: thr’s 1978 review.

On Oct. 25, 1978, writer-director John Carpenter unleashed 'Halloween' in theaters.

By Ron Pennington

Ron Pennington

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On Oct. 25, 1978, writer-director John Carpenter unleashed Halloween in theaters, spawning decades of imitations and sequels of the iconic horror title. The Hollywood Reporter’s original review is below: 

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'deadwood': thr's 2004 review, 'family guy': thr's 1999 review.

Carpenter creates excellent tension throughout and he avoids excessive blood and gore in the murder sequences. The violent actions are mostly implied more than graphically depicted, which serves to heighten the effect.

Donald Pleasance stars as the doctor who has tried to keep the maniac locked up and who attempts to warn the town when he escapes. He creates a strong presence, but it’s basically a one-dimensional role, designed to provide necessary plot information. Jamie Lee Curtis is excellent as the girl around whom the action revolves and she creates a natural, sympathetic character. Good support is provided by Nancy Loomis and P.J. Soles as her two friends and by Charles Cyphers as the town’s sheriff.

The technical credits are all professional and add to the overall effect. Carpenter is also responsible for the mood-setting musical score. — Ron Pennington, originally published on Oct 27, 1978. 

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Halloween (2018) Review

19 Oct 2018

Halloween (2018)

In 1978, John Carpenter took a low-rent concept and turned it into a horror masterpiece. Lean, mean and efficient, Carpenter’s Halloween unleashed a force of quiet, unstoppable evil — Michael Myers, remorseless murderer more living nightmare than man. Halloween launched a franchise, and while many of the sequels had their moments, none could ever live up to the ghoulish heights of Carpenter’s original.

Now, 40 years since the world first met Michael Myers, director David Gordon Green resurrects the character, and attempts to bring some form of closure, and dignity, to the series, while ignoring every single sequel that came before it. The bad news: Green’s Halloween never comes even slightly close to capturing the magic of Carpenter’s film. Gone is the chilling efficiency and the dread-soaked atmosphere. Green, working from a script he co-wrote with Danny McBride and Jeff Fradley, instead attempts to go for broke, loading his Halloween with enough tricks and treats to satiate hungry horror fans. While the 2018 film has none of the stripped-down brilliance of the 1978 Halloween , it succeeds at giving Jamie Lee Curtis ’ Laurie Strode her due while making Michael Myers scary again.

This is Curtis’ film through and through, and the actress easily slips back into one of her most iconic roles. The Laurie in the original Halloween was a terrified teenager, ill-prepared to confront such immitigable evil. The Laurie here is a survivor — and a fighter. She’s spent the last 40 years certain that Michael Myers would come back to finish her off and, as a result, devoted her life to becoming the ultimate badass. With a house rigged up with booby-traps and an arsenal that would make The Punisher blush, Laurie is determined not to be a victim again. Curtis excels at handling Laurie’s tough but somewhat damaged state. She can take care of herself, and then some, but she still bears the scars — emotional and physical — of that long-ago Halloween night.

There’s enough raw power here to hold viewers rapt.

Unfortunately, her survival instincts have cost her dearly. She’s burned through several marriages and alienated her daughter ( Judy Greer ). The only member of Laurie’s family sympathetic to her is granddaughter, Allyson (Andi Matichak). To everyone else, Laurie is a kook.

Of course, Laurie is about to have the last bitter laugh — because, sure enough, Michael Myers (Nick Castle) breaks out of an insane asylum and cuts a bloody path back to Haddonfield. Here is where Halloween is most successful. The franchise as a whole slowly turned Michael Myers into a generic, predictable slasher — someone merely on hand to quickly dispatch horny teens, and little else. This Halloween effectively reminds us of how uniquely terrifying he can be: an absolute monster, a walking battering ram smashing his way through everyone and everything in his sight. He has no sympathy, no empathy, no humanity. He is an unstoppable killing machine, and it’s unnerving and terrifying to watch.

The Laurie and Michael segments of Halloween are worth celebrating. Unfortunately, nearly everything else around them is not. A tacked-on storyline involving Allyson and her high school friends is rushed and clumsy, and merely there to give Michael more victims to decimate. And a plotline involving Michael’s new doctor (Haluk Bilginer) borders on laughable.

Thankfully, Green stages a breathtaking, exciting and invigorating conclusion. Making great use of shadows, and relying heavily on subverting expectations, the long-awaited showdown between Michael and Laurie is worth the wait. Green cleverly finds ways to reference shots from Carpenter’s original — only with the roles reversed, bringing things full circle. Laurie Strode is no longer the prey. The hunted is now the hunter.

Audiences longing for a Halloween to rival the original are going to be sorely disappointed, but there’s enough raw power here to hold viewers rapt. Perhaps realising emulating Carpenter’s would be a fool’s errand, Green instead opts for cheaper thrills. Still, after 40 years and some questionable sequels, it’s a blast to see Michael Myers back home where he belongs.

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Halloween (United States, 1978)

In late 1978, a small horror film opened in Bowling Green, Kentucky (before moving on to Chicago and New York City) that would change the face of the genre. Initially dismissed by many serious critics as unworthy of attention or praise, the motion picture looked headed for an oblivion where it would never make back its small, $300,000 budget. Then, months later, Tom Allen's insightful and complimentary essay appeared in The Village Voice . Suddenly, critics began to notice that there was more to this film than initially met the eye.

Because of its title, Halloween has frequently been grouped together with all the other splatter films that populated theaters throughout the late-1970s and early-1980s. However, while Halloween is rightfully considered the father of the modern slasher genre, it is not a member (the Halloween sequels, on the other hand, are). This is not a gruesome motion picture -- there is surprisingly little graphic violence and almost no blood. Halloween is built on suspense, not gore, and initiated more than a few of today's common horror/thriller cliches. The ultimate success of the movie, however, encouraged other film makers to try their hand at this sort of enterprise, and it didn't take long for someone to decide that audiences wanted as many explicitly grisly scenes as the running length would allow. By the time Halloween 's sequel was released in 1981, the objective of this sort of movie was no longer to scare its viewers, but to gross them out.

From a shock-and-suspense point-of-view, Halloween is the rival of Alfred Hitchcock's Psycho . With only a few arguable exceptions (such as The Exorcist ), there isn't another post-1970 release that comes close to it in terms of scaring the living hell out of a viewer. Halloween starts out in a creepy fashion with a brutal murder, and never lets up from there. Every frame drips with atmosphere. Who cares that it was filmed during the spring in California instead of during the autumn in fictional Haddonfield, Illinois?

Halloween was the film that earned Jamie Lee Curtis the infamous title of "Scream Queen." She plays Laurie Strode, the virginal protagonist. Curtis' capable interpretation of the gawky, awkward Laurie is frequently overlooked in analyses of the movie and its genre, but she effectively conveys the feelings and aspirations of a shy, insecure teenager. It's hard to believe that the actress would develop (in more ways than one) into a woman whose sexual appeal would drive pictures like A Fish Called Wanda .

The film opens with a long, single-shot prologue that takes place on Halloween night, 1963. A young Michael Myers watches as his older sister, Judith, sneaks upstairs for a quickie with a guy from school. After the boyfriend has departed, Michael takes a knife out of the kitchen drawer, ascends the staircase, and stabs Judith to death. The entire sequence employs the subjective point-of-view, an approach that writer/director John Carpenter returns to repeatedly throughout the movie. Only after the deed is done do we learn that Michael is only a grade-schooler.

The bulk of the movie takes place fifteen years later. Michael, confined to an asylum for the criminally insane for more than ten years, escapes on the night before Halloween. His doctor, Sam Loomis (Donald Pleasance), believing Michael to be the embodiment of evil, tracks the killer back to his hometown of Haddonfield. From there, it's a race against time as Loomis seeks to locate and stop Michael before he starts again where he left off in 1963.

Michael's primary victims are Laurie and her two best friends, Annie (Nancy Loomis) and Lynda (P.J. Soles). Throughout the film, Michael is shown gradually closing in on the girls, until, in the final act, Laurie is involved in a face-to-face fight for her life. Much has been made of the fact that the key to survival in Halloween is being a virgin. The three girls who have sex with their boyfriends (Judith Myers, Annie, and Lynda) don't survive their encounters with Michael. Laurie, who has nothing to do with boys, does. Co-writers Carpenter and Debra Hill have stated numerous times that this was not a conscious theme, but, ever since Halloween , the standard for slasher films has been that sexual promiscuity leads to a violent end.

Nick Castle plays Michael (who is referred to in the end credits as "the Shape") as an implacable, inhuman adversary. Because he wears a painted white Captain Kirk mask, we only once (briefly) see his features, and this makes him all the more frightening. He kills without making a sound or changing his expression, and his movements are often slow and zombie-like. Carpenter is exceedingly careful in chosing the camera angles he uses to shoot Michael. Before the climax, there's never a clear close-up -- he's always concealed by shadows, shown in the distance, or presented as otherwise obscured. This approach makes for an especially ominous villain. Subsequent Halloween s delved more deeply into Michael's origins and his connection to Laurie, but, in this one, he remains an enigma, and the lack of a clear motive makes his actions all the more terrifying.

Another important element of Halloween 's success is our ability to identify with the trio of female protagonists, and Carpenter establishes a rapport between the audience and the characters by employing intelligent, realistic dialogue and placing the girls in believable situations. For Annie and Lynda, the most important thing about Halloween night is finding a place to have sex with their boyfriends. For Laurie, it's making sure the kid she's babysitting is having a good time. Annie and Lynda are blissfully unaware of their danger until it's too late, but Laurie recognizes her peril. Meanwhile, if Michael represents pure evil, Sam Loomis is the avenging angel. He's the voice of reason that no one listens to, and, in the end, he's the cavalry coming over the mountain, gun blazing.

Halloween is one of those films where the attention to detail is evident in every frame. While there are many memorable moments, three scenes stand out above the rest. The first is the long, unbroken opening sequence where the young Michael dons a clown mask and murders his sister. Often copied, but never equaled, this scene was unique for its time and reminiscent of Psycho 's shower murder for its effect. The second also occurs early in the movie, as Michael escapes from the asylum during a rain storm. To this day, I find these to be the most chilling three minutes of the movie. Finally, there's the scene near the end where Laurie is banging on a locked door while Michael approaches slowly and inexorably from behind. It's a credit to Carpenter that, no matter how many times you've seen the movie, the tension at this point still mounts to a palpable level.

Despite being relatively simple and unsophisticated, Halloween 's music is one of its strongest assets. Carpenter's dissonant, jarring themes provide the perfect backdrop for Michael's activity, proving that a film doesn't need a symphonic score by an A-line composer to be effective. Carpenter's Halloween main title, one of the horror genre's best-recognizable tunes, can bring chills even away from the theater. Try putting it in the tape deck when you're alone in the car sometime after midnight on a lonely country road, and see if you feel secure.

The final body count in Halloween is surprisingly low (the immediate sequel, Halloween 2 , rectified this matter, but that's another story), but the terror quotient is high. This is the kind of impeccably crafted motion picture that burrows deep into our psyche and connects with the dark, hidden terrors that lurk there. Halloween is not a perfect movie, but no recent horror film has attained this pinnacle (as evidenced by the plaudits heaped upon it in Wes Craven's recent Scream ). Likewise, John Carpenter has never come close to recapturing Halloween 's artistic or commercial success, though he has tried many times. Halloween remains untouched -- a modern classic of the most horrific kind.

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• Frankenstein (1931)
• Blair Witch Project, The (1999)
• Nosferatu (1969)
• Plan 9 from Outer Space (1959)
• Captivity (2007)
• Halloween 6: The Curse of Michael Myers (1995)
• Fish Called Wanda, A (1988)
• True Lies (1994)
• Knives Out (2019)
• Halloween: Resurrection (2002)
• Halloween II (1981)
• Spare Parts (2015)
• Advocate, The (1969)
• (There are no more better movies of Donald Pleasance)
• (There are no more worst movies of Donald Pleasance)
• (There are no more better movies of Nancy Loomis)
• (There are no more worst movies of Nancy Loomis)

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Top 50 Halloween Movies Photo Gallery: Creepy Classics From ‘Psycho,’ ‘The Shining’ To ‘Scream’ & ‘Get Out’

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Nothing is more terrifying than sitting in anticipation in the dark waiting for that unexpected jump scare mastered over the decades by directors who have defined the horror genre since the 1920s with spooky monsters, ghoulish demons and scream queens.

Directors like Hitchcock, Craven, and Carpenter have set the standard for the genre as rising horror directors today including Ari Aster and Jordan Peele make their mark on film with their own style of scare tactics. 

Related: 25 Classic Film Mockumentaries Gallery: From ‘Spinal Tap’, ‘Best In Show’, ‘District 9’ To ‘Punishment Park’ & More

Some horror films are even considered to be the most iconic movies in cinematic history such as Henri-Georges Clouzot’s 1955 arthouse thriller Diabolique,  Charles Laughton’s psychological terror The Night of the Hunter, Brian De Palmas’ 1976 Carrie and Tobe Hooper’s slasher classic The Texas Chainsaw Massacre .

We’ve chronicled our picks for Deadlines’ top 50 classic Halloween films that range from comedy camp classics to borderline B-horror and arthouse thrillers.

SAW X, 2023

Dir. Kevin Greutert, starring Tobin Bell, Shawnee Smith & Synnøve Macody Lund

TALK TO ME, 2023

Dir. Danny Philippou & Michael Philippou, starring Sophie Wilde, Ari McCarthy, Hamish Phillips & Kit Erhart-Bruce

SMILE, 2022

Dir. Parker Finn, starring Sosie Bacon, Jessie T. Usher and Kyle Gallner.

HEREDITARY, 2018

Dir. Ari Aster, starring Toni Collette

MANDY, 2018

Dir. Panos Cosmatos, starring Nicolas Cage

GET OUT, 2017

Dir. Jordan Peele, starring Daniel Kaluuya

THE WITCH, 2015

Dir. Robert Eggers, starring Anya Taylor-Joy.

IT FOLLOWS, 2014

Dir. David Robert Mitchell, starring Maika Monroe

THE BLAIR WITCH PROJECT, 1999

Dir. Daniel Myrick, Eduardo Sánchez, starring Heather Donahue

SCREAM, 1996

Dir. Wes Craven, starring Drew Barrymore, Neve Campbell, Courteney Cox and David Arquette.

HOCUS POCUS, 1993

Dir. Kenny Ortega, starring Kathy Najimy, Bette Midler, Sarah Jessica Parker

THE NIGHTMARE BEFORE CHRISTMAS, 1993

Dir. Henry Selick

DEATH BECOMES HER, 1992

Dir. Robert Zemeckis, starring Meryl Streep, Bruce Willis, Goldie Hawn

DEAD ALIVE, (aka BRAINDEAD), 1992

Dir. Peter Jackson starring Timothy Balme, Diana Peñalver and Elizabeth Moody

CANDYMAN, 1992

Dir. Bernard Rose, starring Tony Todd and Virginia Madsen.

THE PEOPLE UNDER THE STAIRS, 1991

Dir. Wes Craven, starring Brandon Quintin and Adams Everett McGill

THE ADDAMS FAMILY, 1991

Dir. Barry Sonnenfeld starring, Raul Julia, Jimmy Workman, Christina Ricci, Dana Ivey, Anjelica Huston, Carel Struycken, Judith Malina, Dan Hedaya

IT, (aka STEPHEN KING’S IT) 1990

Dir. Tommy Lee Wallace, starring Tim Curry

EDWARD SCISSORHANDS, 1990

Dir. Tim burton, starring Johnny Depp and Winona Ryder

KILLER KLOWNS FROM OUTER SPACE, 1988

Dir. Stephen Chiodo

CHILD’S PLAY, 1988

Dir. Tom Holland, starring Catherine Hicks, Chris Sarandon and Alex Vincent

BEETLEJUICE, 1988

Dir. Tim Burton, starring Winona Ryder, Geena Davis and Michael Keaton

THEY LIVE, 1988

Dir. John Carpenter, starring Roddy Piper and Keith David

HELLRAISER, 1987

Dir. Clive Barker, starring Andrew Robinson, Clare Higgins and Ashley Laurence.

THE LOST BOYS, 1987

Dir. Joel Schumacher, starring Kiefer Sutherland

LABYRINTH, 1986

Dir. Jim Henson, starring Jennifer Connelly and  David Bowie

A NIGHTMARE ON ELM STREET, 1984

Dir. Wes Craven, starring Heather Langenkamp, Johnny Depp and Robert Englund.

SLEEPAWAY CAMP, 1983

Dir. Robert Hiltzik, starring Felissa Rose, Jonathan Tiersten and Karen Fields

POLTERGEIST, 1982

Dir. Tobe Hooper, starring Craig T. Nelson, Heather O’Rourk, Jobeth Williams

THE EVIL DEAD, 1981

Dir. Sam Raimi, starring,  Bruce Campbell

FRIDAY THE 13TH, 1980

Dir. Sean S. Cunningham, starring Kevin Bacon, Betsy Palmer, Adrienne King and Jeannine Taylor.

THE SHINING, 1980

Dir. Stanley Kubrick, starring Jack Nicholson and Shelley Duvall

HALLOWEEN, 1978

Dir. John Carpenter, starring Jamie Lee Curtis and Nick Castle.

HOUSE (aka HAUSU), 1977

Dir. Nobuhiko Ôbayashi, starring Miki Jinbo

SUSPIRIA, 1977

Dir. Dario Argento, starring Jessica Harper, Stefania Casini and Flavio Bucci.

CARRIE, 1976

Dir. Brian De Palma starring Sissy Spacek.

THE ROCKY HORROR PICTURE SHOW, 1975

Dir. Jim Sharman, starring Richard O’Brien, Tim Curry, Patricia Quinn

THE TEXAS CHAIN SAW MASSACRE, 1974

Dir. Tobe Hooper, starring, Marilyn Burns, Edwin Neal and Vortex Allen Danziger.

THE EXORCIST, 1973

Dir. William Friedkin, starring Linda Blair and Jason Miller

DON’T LOOK NOW, 1973

Dir. Nicolas Roeg, starring Donald Sutherland and Sharon Williams

NIGHT OF THE LIVING DEAD, 1968

Dir. George A. Romero

ROSEMARY’S BABY, 1968

Dir. Roman Polanski, starring Mia Farrow and John Cassavetes

THE BIRDS, 1963

Dir. Alfred Hitchcock, starring Tippi Hedren

WHAT EVER HAPPENED TO BABY JANE?, 1962

Dir. Robert Aldrich, starring Bette Davis and Joan Crawford

PSYCHO, 1960

Dir. Alfred Hitchock, starring Janet Leigh, Anthony Perkins and Vera Miles

EYES WITHOUT A FACE, 1960

Dir. Georges Franju, starring Edith Scob

PLAN 9 FROM OUTER SPACE, 1959

Dir. Edward D. Wood Jr.

THE NIGHT OF THE HUNTER,1955

Dir. Charles Laughton, starring Robert Mitchum

DIABOLIQUE, 1955

Dir. Henri-Georges Clouzot, starring Simone Signoret, Véra Clouzot and Paul Meurisse

FRANKENSTEIN, 1931

Dir. James Whale, starring Boris Karloff.

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10 Best Horror Movies If You Loved The Strangers

Horror movie fans who enjoyed The Strangers can also sink their teeth into similar films, like Hush and Halloween.

In 2008, The Strangers quickly garnered praise from horror fans for delivering a tense, isolated slasher that combined some of the genre's best tropes. Purporting to be based on a true story, the movie is widely considered one of the best slashers of the 21st century, with its three masked killers making for great villains. Since the film's release, it has become a modern-day horror icon, with numerous films either matching its intensity or being inspired by it.

Horror cinema covers a variety of tropes and sub-genres , but the tense, realist slasher has become something of a favorite among fans of the genre. Ranging from standoffs with cults to gruesome home invasions, there are a variety of great horror movies for fans of The Strangers to enjoy. With the news of an upcoming third movie, audiences will be looking for something similar to sink their teeth into, and there's plenty to choose from.

10 Jackals Is A Terrifying Cult Movie

Jackals tells the story of a family who, in an attempt to reprogram their son who has joined a murderous cult, take him out to a secluded cabin in the woods. There, an expert in deprogramming cultists works with the family in the hopes of reaching the man and bringing him back to reason. However, as their efforts fail to bear fruit, the home is surrounded by the masked cult to which the man belongs, and they soon attempt to break in.

Jackals is just as tense as The Strangers , leaving its protagonists in an almost impossible situation. Surrounded on all fronts, they begin to realize that even if they hand over their brainwashed son, the cult intends to leave none of them alive. The film is one of the most hopeless and bleak slashers in the subgenre, showing the full horror of which a violent cult is capable.

9 Home, Sweet Home Cuts Right To The Chase

Review: in the fire isn't the highbrow horror it thinks it is.

Home Sweet Home takes viewers to the heart of its plot during its opening credits, immediately opening with the aftermath of a home invasion -- and the captivity of a young woman. The film then sets the stage for its story, following a masked man entering a family home and lying in wait for the couple who own it to return. When they do, the killer makes short work of the man, moving onto the wife by tying her up as he tortures the husband.

Home Sweet Home is a tense horror-thriller that primarily revolves around the wife, Sara, as she tries to evade the masked man within the confines of her home. While the movie isn't the most terrifying horror of all time, it does have a good twist and manages to genuinely shock audiences in its final moments.

8 Them Is A Perfect Isolated Horror

Them revolves around a young French couple, Lucas and Clementine, in their country home outside of Bucharest. One night, the couple is terrorized by a gang of youths, who chase them through their home in an attempt to kill them. Set in a large, manor-sized home, their pursuit soon becomes an elaborate and horrific game of hide and seek as the couple struggles to stay one step ahead of their attackers.

Them stands out as a terrifying film that masters tension better than most in the genre, standing out as almost a French counterpart to The Strangers . The horrifying final revelation that Lucas and Clementine's tormentors are violent youths makes the film all the more disturbing.

7 He's Out There Plays To The Genre's Strengths

He's Out There follows a mother, Laura, and her two children as they travel to a lake house for a family getaway. As she waits for her husband to arrive, Laura is told a story about the house's past residents, whose son, John, went missing. Shortly after, her daughters find a staged child's tea party in the woods, with cupcakes laid out for them. Later, one of the girls is sick and coughs up a ribbon with a note on it. When Laura realizes what's going on, she and her children attempt to escape, only to be caught in a game of cat and mouse with a masked man.

He's Out There follows Laura and her daughters as they fight for their lives against a horrifying masked killer who stalks them, creeping around their house as they plot an escape. The movie is a slow burn, with most of the runtime being more cat and mouse, with the killer rarely confronting the characters. However, the use of a lurker in the woods terrorizing a family did make for an underrated slasher.

6 Hush Follows One Woman's Night Of Terror

A deaf and mute writer who retreated into the woods to live a solitary life must fight for her life in silence when a masked killer appears at her window.

REVIEW: Suitable Flesh is an Intriguing Steamy Body Horror

Hush focuses on a deaf woman, Maddie, who lives in a remote house in the woods, where she spends her time writing. While some people live nearby, Maddie is by herself, something that works against her when a masked killer shows up at her window. What begins as a stalker playing a game of cat and mouse soon escalates when the masked man makes it clear he means to kill Maddie.

Hush captures the same intensity as The Strangers , with the killer using the shadows to creep around the house and preying on the woman's inability to hear to gain an advantage. However, when she turns the tables, Maddie fights back and shows that her disability doesn't stop her from being one of the best final girls of the 2010s.

5 The Blackening Is A Comedic Cabin In The Woods Slasher

The blackening.

*Availability in US

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The Blackening follows a group of Black friends who attend a Juneteenth celebration at a remote cabin in the woods. While there, they discover a racist board game, The Blackening , which tests the characters' "Blackness" through trivia and cultural questions to pick them off one by one. When a character is determined to not be sufficiently Black, they're killed by a small group of men in masks.

The Blackening is one of the best combinations of satire and horror of its era, blending social commentary with a night of horror. While it's nowhere near as serious or intense as The Strangers , it is a fun parody of that style of cabin-in-the-woods slasher and is great for fans who want to see an isolated horror that doesn't take itself seriously.

4 Halloween Is A Horror Icon

Halloween (1978).

Fifteen years after murdering his sister on Halloween night 1963, Michael Myers escapes from a mental hospital and returns to the small town of Haddonfield, Illinois to kill again.

John Carpenter's Halloween tells the story of Michael Myers , Haddonfield's menacing serial killer who, after breaking out of an institution, returns home. As high school student Laurie Strode and her friends try and enjoy their Halloween night in Myers' childhood home, they're picked off one by one by the masked killer.

Halloween is practically the king of masked slasher horror, effectively creating the sub-genre back in 1978. With Michael on the loose and Sam Loomis pursuing him across the state, audiences are treated to one of the horror genre's greatest manhunts. In Laurie's Night fighting for her life, they get a genre-defining slasher that influences everything from The Strangers to Scream .

3 Wolves at the Door Retells The Manson Family Murders

Review: thanksgiving is eli roth's instant classic holiday horror.

Wolves at the Door is a loose retelling of the infamous murder of Sharon Tate at the hands of the Manson Family. The film begins with the murder of a couple, followed by the arrival of Sharon and her friends at her house. While there, the four friends' night in becomes a bloodbath as the cult killers arrive and begin murdering everyone they can.

Wolves at the Door is an attempt to shed light on one of the most notorious killings in American history, albeit by capitalizing on and exploiting a real tragedy. Nonetheless, it makes for one of the most harrowing slashers of its decade and would be perfect for fans of The Strangers .

2 Vacancy Is On Par With The Strangers

Vacancy follows a married couple left detached from one another over the death of their son. As they drive through an isolated country road in search of the highway, their car breaks down, and they're forced to spend the night at a motel. However, after they check into their room, they're harassed and terrorized by masked men. When the husband tries watching some videos, the couple is horrified to discover that their room is used to film snuff movies -- and the motel guests are the victims. Upon realizing this, the power is cut to their room, and they're forced to fend off attackers.

Vacancy and The Strangers are very similar movies, both prioritizing tension over gore and focusing on a couple in the middle of nowhere. For people who enjoy a more grounded approach to the slasher genre, this is one of the better entries and plays on the same tropes as the 2008 classic.

1 The Strangers: Prey At Night Continued The Iconic Slasher

The strangers: prey at night.

The Strangers: Prey at Night is a sequel to Bryan Bertino's 2008 slasher The Strangers. The film has a similar plot to the original, centering on a group of masked strangers that attack a family taking a vacation at a trailer park.

The Strangers: Prey at Night serves as the sequel to the original 2008 movie, this time following a small family in a trailer park. When a family arrives for their vacation, they find the managers murdered, and are soon stalked by the trio of masked serial killers: Dollface, Pin-Up Girl, and Man in Mask.

The Strangers: Prey at Night is a notably more stylish film than the previous one and is full of homage to other slashers, such as The Texas Chain Saw Massacre . From the kids fighting the killers to the tune of Total Eclipse of the Heart to an intense stare-down on the road, the film channels the best of the slasher genre. As a sequel, the return of the trio of anonymous killers gave fans plenty of frights and kept them guessing as to who would survive the night of carnage.

8 Collectible Vintage Horror Movie Posters (& What They're Worth)

We're not the only ones who think it's weird that we all just woke up one day and stopped plastering our walls with movie posters, right? Before social media turned film advertising into a mostly digital thing, movie posters were a vital way for audiences to get a taste of what the movie was all about. We'd color our walls with these vintage horror movie posters in a heartbeat, if only we had few a spare thousand dollars lying around.

Old Horror Movie Posters We Can't Stop Thinking About

The extensive press junkets, multiple trailers, and social media teasers that are rampant in Hollywood today have ruined the horror movie mystique. Back in the day, you only had a single poster (or series of posters) to grip people's wandering eyes and give them a taste for the scares to come. That sort of creative necessity gave birth to a collection of old horror movie posters that truly stand the test of time, and here are some we can't stop thinking about.

Dr. Jekyll & Mr. Hyde (1931)

An early horror talkie made in 1931 starring Fredric March as the titular character, Dr. Jekyll & Mr. Hyde probably doesn't make your list of the top 5 '30s horror films based on theatrical prowess alone. It's hard to stand up to the likes of Dracula and Frankenstein . But this shadowy poster certainly stands out.

Hyde stays pressed into the background, a green shadowy figure, hinting not only at his role in the film but also the creative way they were able to combine the two independent March shots together. Dr. Jekyll takes the foreground, but half his face is covered in this acid green wash. The poster says it all: Dr. Jekyll wants to move to the light, but he won't be able to escape his shadow.

If you're looking for an original lithograph poster from this silver screen classic, you might want to start a few side-hustles because they'll run you a couple thousand dollars. They're so rare, in fact, that none have come to a public sale in years.

Vertigo (1958)

Saul Bass completely changed the game for movie poster designs in the 1950s and 1960s. He pioneered a style that shifted us out of character driven features or snapshot scenes from the movie into an art form. His most famous work is Hitchcock's 1958 film, Vertigo .

The red background with a white spirograph spiral demands to be front and center. The two main characters are relegated to the bottom of the poster, making us turn our focus on the spiral itself. It's a conundrum for anyone who's never seen the movie, but once you have, it's a genius way to replicate the sense of falling and vertigo that follows throughout the film.

Because of how iconic the Vertigo image still is, original poster prints can sell for thousands of dollars. For example, this original Vertigo poster was estimated to be worth about $7,000-$10,000 in a Sotheby's auction.

House on Haunted Hill (1959)

We wouldn't be surprised if the House on Haunted Hill poster wasn't the inspiration for Lowe's famous 12' skeleton. The poster for this 1959 horror flick shows a stereotypical haunted mansion at a conflicting angle to the other characters surrounding the bottom title.

But the reason why this poster keeps circling in our brains when our eyes are closed is because of the limp woman in a bright gold dress hanging from a noose being held up by a skeleton. With everything surrounding her in cool tones of green, blue, and brown, her bright figure grabs our attention and forces us to look.

Despite being less remembered than other horror movies on this list, an original poster will still do well at auction. For instance, this original House on Haunted Hill poster is currently listed for $2,300 online.

Eyes Without a Face (1960)

When it comes to 1960's Eyes Without a Face movie posters, any of the variations could make this list for their creep factor alone. What each of these posters have to varying degrees is a figure that screams uncanny valley. The shocking contrast of pure white over the face with only the eyes coming through creates a mask-like effect. You can't help but see the horror filled eyes beneath the expressionless white face and want to rip the character out of the poster to save them from their fate.

Being a French film, Eyes Without a Face doesn't have the same name recongition that slasher flicks have in the United States. This makes the original posters a little less valuable than some from around the same time, at about $250-$600. For instance, one of the original French prints is currently listed for $675 online.

The Exorcist (1973)

For The Exorcist , less really is more. The chaos, violence, and disgusting green goo that's going to ensue from Regan's possession isn't anywhere to be found on the original movie poster. Instead, you can only see the shadow of a man lit up by a streetlight, presumably in front of a house.

Now this is some ingenious storytelling. A small beam of light - The Exorcist - is nearly overtaken by the dark black poster just as he and Regan's family are increasingly endangered by the demon that possesses her. This horror movie poster sticks with us because it's such a startling foil to what lies within the film.

What about head spinning and green vomit doesn't have lasting appeal? Collectors still love snatching up original prints of the movie's posters, and they'll run anywhere from $200-$500, on average. One high quality print with slight creases is currently listed for $450 online.

Jaws (1975)

Jaws . That iconic red lettering, the glacier-like proportion of sky to sea, and the massive shark lying in the deep. Do we even need to say more?

Undoubtedly, Jaws has one of the most expensive recent film posters to date. These suckers can run you up to $5,000 or more in some cases, like this one print that's listed on 1st Dibs for $5,134.12.

Halloween (1978)

Halloween's another great example of a less-is-more approach to movie posters. The ridges of the pumpkin face mirror Michael Meyer's knife-wielding hand in such a way to create both illusion and motion. If you were walking after dark and saw this poster out of the corner of your eye, you'd probably start booking it in the other direction, and that's what makes it such a special one.

If you want to get into the Halloween spirit a little early, consider bringing home an original movie poster like this one . It'll only cost you about $500-$3,000 depending on the quality.

Silence of the Lambs (1991)

There might not be any fava beans on this poster, but it still lingers in our memory. The first horror movie to win the Academy Award for Best Picture, Silence of the Lambs has so many iconic moments that don't make their way onto the poster. Instead, Jodi Foster's mostly blurred face stares directly as you with deep crimson eyes. The notable part? There's a moth covering her mouth.

Of course, you can't put together the pieces until you've seen the movie, but Foster's indomitable stare despite being 'silenced' lingers with us long after we've looked away.

In comparison with the others on this list, Silence of the Lambs is the only poster that shouldn't break the bank. Being a newer film works in your favor as original prints only go for about $200-$500, like this print that's going for $450 online .

Are Vintage Horror Movie Posters Worth Anything?

Original movie posters are highly collectible, but that doesn't mean they're all worth a lot of money. There's so much nuance behind assessing quality, determining if it's a reprint or an original, and finding a buyer who wants to take it on. All these factors can make it hard to tell how much a vintage film poster's going to sell for.

Undoubtedly, old film posters from the 1920s-1940s usually sell, on average, for more than later ones because they're much harder to find and so demand is greater for them. However, posters from blockbuster smashes and cult classics will do well no matter their age.

Condition is also a huge factor in how much horror movie posters sell for. Creases, smudges, stains, and tears will all detract from their value. So, the more pretty and pristine a poster is, the more you can sell it for.

Horror films also have a huge cult following that means there's always someone around the corner who's interested in taking a look at the posters you've scrounged up. While demand can fluctuate for other mediums, horror fans aren't going anywhere.

These Posters Give Us a Good Scare

You shouldn't ever overlook a movie poster. It's another piece of storytelling that'll give you a peek into the horrors that are to come. From abstract mid-century pioneers to iconic Art Deco creations from the early days of talkies, these are just some of the collectible vintage horror movie posters kicking up a fuss. The best part? There's so much more out there to give you chills.

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Halloween Reviews

Ultimately the great attention paid to artistry and atmosphere can’t be denied.

Full Review | May 3, 2023

While the movie does have its flaws, I highly recommend for you to see Halloween. It pays homage to the original film but also establishes itself as an excellent follow up to the original

Full Review | Jan 22, 2023

When you have framed yourself as a direct sequel to an all-time horror classic and you’ve wiped out a lot of the series history, it’s easy for us to expect a little more than a standard slasher film.

Full Review | Original Score: 3/5 | Aug 21, 2022

The best directed film since Carpenter's original showcasing cinematography and stylish sequences the genre rarely sees. Myers is also the scariest he's been since 78'. The script and characters let down what comes close to being blood-soaked excellence.

Full Review | Original Score: 3.5/5 | Aug 19, 2022

The material's bizarrely retconned conceptualization, absurd twists, and overall fanfiction quality are self-consciously clever, distractingly so.

Full Review | Original Score: 2.5/4 | Mar 8, 2022

The best Halloween installment since the original movie.

Full Review | Original Score: 2/4 | Oct 24, 2021

Halloween breathes new life into this scattershot franchise.

Full Review | Original Score: 3.5/5 | Oct 19, 2021

More entertaining than its predecessor, but only at the expense of ingenuity and suspense. Because nothing here is really shocking or meaningful.

Full Review | Original Score: 6/10 | Oct 9, 2021

Episode 13: Raison D'être

Full Review | Original Score: 40/100 | Sep 1, 2021

Just a typical slasher that only pays lip service to our current moment.

Full Review | Original Score: B- | Aug 10, 2021

This Halloween tells a new story within the framework of everything memorable about the original film -- and in the end, that's what any good sequel should strive to do.

Full Review | Jul 13, 2021

If this is Lee Curtis' final Halloween film, and that's far from a safe bet, it's a fitting goodbye. It's not a match for her first outing, and it was never likely to be, but 40 years on it's the closest any sequel has come.

Full Review | Original Score: 4/5 | Apr 28, 2021

Halloween is [Laurie Strode's] love letter to all of us, wrapped in a most excellent slasher movie.

Full Review | Mar 11, 2021

Both a reboot and a bloody love letter to the director who started it all, John Carpenter.

Full Review | Original Score: 4/5 | Mar 1, 2021

Halloween (1978) is an incredible film with a lot of subpar sequels. HALLOWEEN (2018) is no exception.

Full Review | Jan 28, 2021

Erasing all the films that followed the original, this one gives us a truly connected and worthy continuation of the story, full of nostalgia.

Full Review | Jan 2, 2021

This endeavor would have been far more compelling had there not been so many prior theatrical chapters and remakes.

Full Review | Original Score: 6/10 | Dec 6, 2020

The best sequel in the film's 11 movie franchise.

Full Review | Original Score: 4/5 | Nov 5, 2020

After four decades, "Halloween" finally gets the sequel it deserves, providing a scary good time for slasher horror fans by faithfully following the formula. This 11th installment asks us to forget the silly sequels and pretend like they never happened.

Full Review | Original Score: 3/4 | Aug 29, 2020

[T]he film can't balance its wryer tone with its sillier obligations, and it's polluted with idiotic stock characters who act upon the most suicidal accords imaginable.

Full Review | Original Score: 2.5/5 | Jul 25, 2020

'The Black Phone 2' Bumps Back Release Date to Next Halloween

We'll have to wait a little longer for the return of The Grabber.

The Big Picture

• The Black Phone was a surprise success for Universal Studios, grossing $162 million worldwide.
• Hawke reprises his role as The Grabber in the upcoming sequel, with Derrickson returning to direct and write.
• The Black Phone follows Finney, a 13-year-old boy trapped by The Grabber, communicating with victims through a disconnected phone.

When The Black Phone premiered in 2022, the Blumhouse horror movie was both a surprise and a terror in equal measure. On the one hand, the film proved to be a massive success, starring Ethan Hawke as The Grabber, a sadistic killer who abducts and murders children , The Black Phone , on a low-budget, turned out to be a brilliant commercial play for Universal Studios , grossing $162 million worldwide. On the flip side, the film was a proper terror to behold for viewers who ventured to theaters to see The Grabber in action. With the prospect of another franchise on its hands, Universal Studios and Blumhouse had announced that a sequel was set to arrive in theaters in June, 2025 . However, with a calendar shuffle, The Black Phone 2 will be arriving in theaters on October 17, 2025 .

In the first installment of the movie, Hawke, as previously mentioned, played the role of The Grabber, a criminal responsible for kidnapping several children with a variety of sadistic methods he's perfected over the passage of time. The Black Phone follows a pair of siblings called Finney ( Mason Thames ) and Gwen ( Madeleine McGraw ), in their bid to survive the dangerous man that continues to haunt and hurt their community. With nowhere else to go and locked away in a soundproof basement , 13-year-old Finney comes across a phone that can directly connect him to The Grabber's previous victims, who desperately want to help him escape the grasp of the killer.

The Black Phone was directed by Scott Derrickson off a script co-written by Derrickson and C. Robert Cargill . The pair is set to return to pen the upcoming sequel and are producing with Blumhouse’s Jason Blum . Derrickson's credits include Marvel's Doctor Strange , and Sinister . The collaboration on Sinister between Derrickson and Cargill was the start of what has gone on to become a profitable working partnership.

Hawke Is Happy to Return

The casting of Hawke saw the four-time Oscar nominee reacquaint himself with former collaborators. The actor had originally worked with Derrickson on the Sinister franchise, and The Black Phone saw Hawke renewing his working relationship with Blum after prior projects like The Purge , In a Valley of Violence , and Stockholm among others. That list is set to expand with Hawke set to return for The Black Phone sequel. Speaking in a conversation with Collider's Tania Hussain , Hawke revealed his enthusiasm for working with Derrickson again on the upcoming sequel should he get the chance. However, how The Grabber makes his return should make for interesting viewing given how it all ended the first time around. Hawke, speaking, said :

"Thanks, I have a good relationship, you know, like what Maya said about directors — it’s really true of Scott Derrickson. I had a really wonderful experience making up my first scary movie with him. We did a movie called Sinister, and he’s just a real filmmaker. I love the way he thinks about film and storytelling. And as I get older, I really enjoy working in different genres as an actor. It’s a way to shape [and] change yourself as a performer. By trying to learn the math of what makes a great romantic comedy, what makes a great art film, what makes a great horror film, what makes a great Western, you know, there’s a certain geometry to all that and Scott is brilliant at that. And so basically, if he wants me to be in ‘Black Phone 2’, I’m gonna do it.

The Black Phone is available to stream on Hulu. The Black Phone 2 will arrive in theaters on October 17, 2025.

The Black Phone

After being abducted by a child killer and locked in a soundproof basement, a 13-year-old boy starts receiving calls on a disconnected phone from the killer's previous victims.

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Spirit Halloween Barbie the Movie Adult Pink Power Jumpsuit | Officially Licensed | Barbie Outfit

Product details, about this item.

• When trying to decide between two sizes, choose the larger size for a better fit. If you love Barbie the Movie, this officially licensed jumpsuit is a must-have.
• This set includes a jumpsuit, a headband, and a pair of sunglasses. Made of cotton and polyester material, this high-quality costume is perfect for you.
• Featuring long sleeves and a Zipper closure, this costume is both stylish and easy-to-wear. Get ready to do Halloween in style!
• To avoid wear and tear, do not wash this costume in a washing machine. Always be sure to hand wash and spot clean to prolong the life of this outfit.
• This costume is imported and does not include shoes or additional accessories.

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Spirit Halloween is the largest Halloween retailer in North America, with over 1,450 locations in strip centers and malls across North America. Celebrating nearly four decades of business, Spirit has cemented its position as the premier destination for all things Halloween. Known to many as an exciting and interactive event for shoppers. In fact, Spirit knows how to have so much fun, it's scary!

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Product Description

Show love for your favorite fashion icon when you wear this officially licensed Pink Power Jumpsuit from Barbie the Movie. This jumpsuit has Barbie on the back, so there is no mistaking what fashionista inspired your outfit.

Product Features

• Officially licensed
• Includes: Jumpsuit, headband, sunglasses
• Long sleeves
• Zipper closure
• Material: Cotton, polyester
• Care: Spot clean
• Note: Shoes not included

• Package Dimensions ‏ : ‎ 17.83 x 12.83 x 2.17 inches; 1.46 Pounds
• Department ‏ : ‎ womens
• Date First Available ‏ : ‎ May 30, 2023
• Manufacturer ‏ : ‎ Spirit Halloween
• ASIN ‏ : ‎ B0C6MZ3QJS
• #414 in Women's Costumes

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123Movies.!!Watch Kingdom of the Planet of the Apes (2024) Online Full Movie HD Free

Where and how to watch Kingdom of the Planet of the Apes movie on streaming services online for free? In spite of the title, “Kingdom of the Planet of the Apes” is not a remake. It is actually Kingdom of the Planet of the Apes 5, with Neve Campbell, Courtney Cox, and David Arquette all returning almost ten years after the last Kingdom of the Planet of the Apes movie was released. Check below on how to stream all of Kingdom of the Planet of the Apes movies in the horror series.

WATCH HERE- https://ign.com/kingdom-of-the-planet-of-the-apes

Director Wes Ball breathes new Monkey life into the global jungle, epic unstoppable franchise set several quick generations in the future following Caesar’s ultimate reign, in which apes are the dominant species living harmoniously and humans have been reduced to living in the shadows. As a new tyrannical ape leader builds his empire, one young ape undertakes a harrowing journey that will cause him to question all that he has known about the past and to make choices that will define a future for apes and humans alike.

Kingdom of the Planet of the Apes’s premise should seem very familiar.

Just after the conquere of whole aqua era aquaman is back with tremendous sequel. Story begins when Arthur Curry got bored with its powers allmost five years after a streak of Arthur Curry superpowers shocked the entire Atlantis town of King Orm, a new killer has donned the underwater kingdom mask and begins targeting a group of King gaurds to resurrect secrets from the town’s deadly past.

Recent horror release “Halloween Kills,” debuted simultaneously in theaters and on NBC’s “Peacock” streaming service. But, there is currently no plan to stream “Kingdom of the Planet of the Apes,” at least not immediately.

Kingdom of the Planet of the Apes 2024 release date May 10, 2024 wide release in theaters only.

Where to watch Kingdom of the Planet of the Apes Are you a fan of Kingdom of the Planet of the Apes sequel and Atlantic city? If so, check in with your local theater or cinema to book your seats now.

WATCH IN THEATERS: Kingdom of the Planet of the Apes (2024)

Release Date: May 10, 2024 Directed By: Wes Ball Written By: Josh Friedman, Rick Jaffa, Amanda Silver, Patrick Aison Produced By: Wes Ball, Joe Hartwick, Jr., Rick Jaffa, Amanda Silver, Jason Reed Cast: Owen Teague, Freya Allan, Kevin Durand, Peter Macon, William H. Macy Rating: PG-13 Genre: Action, Adventure, Science Fiction Summary: Director Wes Ball breathes new life into the global, epic franchise set several generations in the future following Caesar’s reign, in which apes are the dominant species living harmoniously and humans have been reduced to living in the shadows. As a new tyrannical ape leader builds his empire, one young ape undertakes a harrowing journey that will cause him to question all that he has known about the past and to make choices that will define a future for apes and humans alike.

Where to watch all the Kingdom of the Planet of the Apes movies Here’s exactly where to find them, including streaming services, and how much it’ll cost you.

For more Kingdom of the Planet of the Apes coverage, check out: • Kingdom of the Planet of the Apes review • How long is Kingdom of the Planet of the Apes? • Is Amber Heard in Kingdom of the Planet of the Apes? • Kingdom of the Planet of the Apes ending explained • Does Kingdom of the Planet of the Apes have a post-credit scene? • What’s happening in the new DC Universe? • How to watch DC movies in order

Kingdom of the Planet of the Apes is out now in cinemas.

If you’re looking for a refresher on the older films, or want to re-watch the Kingdom of the Planet of the Apes movies before going to see Kingdom of the Planet of the Apes 5 in theaters, read on.

Currently, the Kingdom of the Planet of the Apes movies are airing on a variety of broadcast channels. For streaming, check out the list below showing all five Kingdom of the Planet of the Apes films in order and where you can stream each one:

Where are Kingdom of the Planet of the Apes movies streaming? While you can’t find the Kingdom of the Planet of the Apes movies streaming on every platform you can watch for free on several with a seven-day free trial.

Here’s the list:

Kingdom of the Planet of the Apes (1996):

Streaming on Peacock Premium, HBO Max & PlutoTV. The original Kingdom of the Planet of the Apes is available for rent/purchase on Amazon Prime Video, Google Play, Apple TV, YouTube, and other digital platforms.

Kingdom of the Planet of the Apes 2 (1997):

Streaming on Peacock Premium, and is available for rent/purchase on Amazon Prime Video, Google Play, Apple TV, YouTube, and other digital platforms.

Kingdom of the Planet of the Apes 3 (2000):

Streaming on Starz; and is available for rent/purchase on Amazon Prime Video, Google Play, Apple TV, YouTube, and other digital platforms.

Kingdom of the Planet of the Apes 4 (2011):

Streaming on Showtime; and is available for rent/purchase on Amazon Prime Video, Google Play, Apple TV, YouTube, and other digital platforms.

Kingdom of the Planet of the Apes (2024):

Only in theaters starting January 14, 2024. Future streaming availability will be announced at a later date.

Can I watch Kingdom of the Planet of the Apes movies on Hulu Live TV?

Currently you cannot watch Kingdom of the Planet of the Apes movies on Hulu.

Can I watch Kingdom of the Planet of the Apes movies on FuboTV?

Currently you cannot watch Kingdom of the Planet of the Apes movies on FuboTV.

Can I watch Kingdom of the Planet of the Apes movies on Netflix?

Currently you cannot watch Kingdom of the Planet of the Apes movies on Netflix.