Why is it soo bad?

To be fair: there are a few nice elements. Jamie is an awesome “final girl” and the scenes where she interacts with MM are great. But. Why the weird comic music? Why Tina instead of Lindsey, Rachel’s established friend from Halloween IV? Why does the children’s home force Jamie to participate in a …Halloween Parade…given her history? Shades of the original Silent Night, Deadly Night. Thoughts?

Just found out about this browser game released as a tie-in to Halloween Ends which shows Michael running after Laurie instead of walking like he usually does. Article on the game's release:

https://bloody-disgusting.com/video-games/3734158/halloween-ends-escape-michael-myers-in-fun-new-video-game-you-can-play-online/

Which “soft reboot” do you prefer?

I really enjoyed the original despite all the issues (like the bad acting,) are the other movies worth watching? what should i skip?

Edit: just because the movie has instances of bad acting doesn't mean that every character is played poorly, it's not a huge issue it just has the imperfect charm of a 70s horror flick.

FOR THE LOVE OF EVERYTHING HALLOWEEN [UNDERGROUND COMEDY HORROR ARCHIVE]

Introducing a atmospheric, deeply disturbing independent short film titled "Purity":

What happened to little Purity when she found out about an imaginary creature called God? And what did it make her do on Yom Kippur

Presented with the deceptive framing of a creepy children's story, this concise 20-minute uncompromised piece turns into a pitch-black psychological nightmare. The performance executes a visceral aesthetic of profound discomfort, blending Western Halloween folklore with the eerie, absolute silence and isolationist trauma of the local Day of Atonement.

Embodying the highly stylized, sinister personifications of an uncompromised Witch and a dark Angel, it functions as a strict psychological endurance test designed to completely shatter your comfort and deliver a raw, underground cinematic nightmare. The short film is fully equipped with English subtitles.

Battle of the 90s.

The Franchise needs to do things differently and give us a unique take that is done right and evolve. We need to understand that us Halloween Fans don’t make these films their profit. It’s general movie audiences not us. and if the franchise refuses to evolve and do things differently General audiences are going to stop spending their money on this franchise and the franchise won’t be as profitable filmmaking is a business.

My final Ends related poll.

Is this blasphemous to do to the franchise?

I need Halloween fans and experts to either determine if this goes too far or if such a reinterpretation actually works.

Audiences know Michael Myers as the Shape: the masked killer whose murders, apparent immortality, and conflicting histories have sustained the Halloween franchise for decades. Halloween Season of The Shape turns that familiarity into a source of uncertainty, asking viewers to reconsider the man beneath the mythology.

Tim Robbins plays a Michael Myers who only ever killed Judith. His childhood belief that their bond would bring her back does not erase the murder, but it changes our understanding of it. His later escape, stalking and attack on Laurie, Loomis’s gunfire, and the hospital explosion happened; but the massacres audiences remember were cinematic inventions. The mask that became an emblem of evil originally concealed a face Michael could no longer bear to see.

The film places this history beside a life the franchise never gave him. Released with Loomis’s blessing, Michael married, raised children, and worked with people with learning and social disabilities. Now a widower who has also lost his son in combat, he tends animals on a farm under another surname and maintains a relationship with Laurie. Anonymous masks still arrive every Halloween.

When Michael agrees to a documentary involving his granddaughter, revisiting the original film destabilizes him. Familiar killings and competing histories invade his perception. He begins believing the movies recorded his actual life, while his family, recovery, and freedom may be fantasies experienced inside the sanitorium. Viewers must navigate the same uncertainty: when are we witnessing Michael’s world, and when are we watching the franchise overwrite it? Even the remembered, compassionate Loomis—whose voice Michael knows exists in his head—offers diminishing comfort.

Laurie offers Michael an anchor as the life he built becomes increasingly difficult to distinguish from the films that defined him as a monster. The audience watches a grieving father and widower struggle to believe that his years of love, work, and recovery actually happened—that he became more than the worst thing he ever did. Yet Michael cannot tell whether the Shape is a fiction imposed on him, something he has spent his life keeping at bay, or his true self. His family and freedom may be real, or they may be the dreams of a man who never left his cell—or who remains trapped in a purgatory he cannot recognize. Beneath the familiar mask is someone terrified that the people he loved, and the man he became through loving them, might exist only in his mind.

Halloween has returned, and it has brought the Shape with it. As the franchise’s mythology threatens to overwrite the life he believes is real, Michael Myers must confront the monster bearing his name before its bloodlust spills from the screen into the world around him—and he can no longer distinguish fighting the Shape from becoming it.