Gresh854 If a movie could be a literal, physical Middle Finger, Halloween: Resurrection would be it. Nearly every aspect of the film is an insult not only to fans of the franchise, but also anyone who respects cinematic quality. It tries to recreate the success of movies like Scream and Scary Movie, by adding a comedic twist to the horror genre, but in doing so, burns the whole Halloween lore in a blazing wildfire. If there's one word that perfectly sums up how I would describe Halloween VIII, it would be "abnoxious." (Verdict: F)

realityinmind This is definitely the worst movie in the series (yes, worst that Zombie's sequel). The plot is ridiculous -- it takes place in the Myers' condemned house with no electricity (hello city regulations?), the actors are obsessed with sex like they are in a campy movie -- the girl gets naked in the dirty a$$ basement before dead bodies fall all over her (Halloween is NOT Friday the 13th), and the worst aspect of it all is the editing. All throughout this movie the film is randomly slowed down. Why? Michael is walking too fast..... press the slow motion button. Jamie Lee Curtis is falling too fast.... press the slow motion button. Randomly things just slow down for a few seconds here and there all throughout the movie yet the film format can't handle these slow-motion effects, so every time it is slowed down the film becomes blurry. It is horribly distracting, all because the director couldn't direct the guy who played Michael to simply walk slower. Jamie Lee Curtis didn't want to be in this movie as she keeps trying to kill herself off in all the horrible remakes but Moustapha Akkad just won't let her! (Though it is relieving to know that Danny McBride is helping with the new movie, and clearly that is enough to get Jamie Lee Curtis back on board one last time).I did like Busta Rhymes though... he is a good versatile rapper slash actor.And I am glad they finally got rid of that whole Thorn thing. It was a horrible mistake that was forced into the franchise for no reason (look up the history of how that happened).

Nick Duguay I fully understand all of the negative reviews but in my opinion Halloween: Resurrection is, in fact, one of the better editions to the series. Halloween took a quick dive after the first sequel, the third film in the series being nearly unrelated to the rest (not that I hated it- in fact I quite enjoyed it), and then the fourth, fifth and sixth being particularly bad films on their own right, even disregarding the understandable shadow of their origin material. Halloween has always had a troubled and rocky journey as one of the big grossing horror franchises to come out of the time period along with A Nightmare on Elm Street and Friday the 13th. In my humble opinion, this, the eighth film in the series, does what none of the others did- bring a lighthearted campiness to the series. Halloween H20, the preceding sequel, was inordinately well done and quite unexpected, but I think that by the time you reach the 8th film in the series you're expecting little other than some laughs, corniness and maybe a few new and exciting kills. This is what worked so well for Friday the 13th and A Nightmare on Elm Street, but what Halloween had refused to do. All throughout the series, Halloween obstinately stuck to an atmosphere of seriousness, always giving us a straightforward story, never being jovial or satirical until now. This movie may not be the best- the characters can be quite forgettable, the story line is mediocre at best, and the found footage cuts are of low quality and therefore unenjoyable to see on screen. Despite all of this I think that Halloween: Resurrection far surpasses much of the other trash to come from this franchise. And it has Busta Rhymes in it. By the time you reach the eighth film of a horror series what more could you realistically ask for?

Devon Elson (absolutetravist) Like an old man trying to understand how to use their grandchild's tablet, Resurrection is an irony riddled attempt from a film in 2002 trying to defibrillate a franchise started in 1978. Given this is the eighth and last of the canon series, it seems fitting for the man that started it all returning to end it. Not Carpenter of course, but Rosenthal who directed the pleasantly fine second entry that helped popularize the killer that just refuses to kick the bucket.Also returning is finish things is Jamie Lee Curtis who firmly ended her relationship with the franchise by dying in the prologue. Much like the prior film of comically beating Myers' butt, Jamie is ready for round eight but shockingly, and rather limply, loses in a scenario reminiscent of Halloween 2.But here lies the problem, whether it be supernatural orders found in the dreadful and oft skipped 'Thorn trilogy' or simple cinematic storytelling, Michael Myers did it. He achieved his goal, his mission in life, his series story arc in murdering his entire family. In effect he has no meaning to exist, which cements him in the same position of Jason Voorhees and Freddy Krueger who were all having so much fun they forget why they even started.Who do we have now? Who knows, I sure can't remember the forgettable cast of fodder this time around. Save for Tyra Banks in a small throwaway role and Busta "Trick or treat, motherf***er" Rhymes as the man to canonically take down the Shape for the last time. No real threat since Paul Rudd also accomplished that. Those two (Banks and Rhymes) working together on an online reality show exploring spooky tourist attractions leads to uninspired and poorly directed portable camera portions that resemble the found footage craze that boomed before and then after this film.There also happens to be two characters that watch this at a Halloween party and aiding in the protagonist's survival, absurdly but entertainingly they wear Pulp Fiction costumes the entire film. As bizarre as it is to see a white guy try to act serious watching live murders while wearing an afro and goatee, it's pretty great to see recognizable costumes on screen.Mentioning Jason and Freddy before, it's strange to witness the ends of these franchises. Even with reboots and rebirths, it's still morbidly curious to see just how confident and desperate studios were to maintain a franchise with no regard to quality or quantity. Fittingly the franchises end up resembling the icons themselves, disfigured and devolved yet still lurching onward. But more so, that it's the masks that instilled that magic, like the people embodying those killers, it's the directors, actors, producers, and studios that regularly rotate to wearing them. Copycat killers trying their best, or not, to score their name crudely alongside the originators by rekindling the legacy.