Halloween: The Curse of Michael Myers

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bluemanorlandofan2026 T @RT92190981 6d Lots of people hate on this movie, but I think its awsome the mask looks awesome, the kills are some of the best in the franchise, they brought back Tommy from the first film, witch i think is awesome. People don't like the ending, but i do. This film is cool See more Charles T. @CharlesGaming1000 Apr 20 This cult thing is so weird…… idk what to think of it See more Sebastian A. @Bonrz Apr 5 Producers cut gains half a star lol See more Sam @SamColacito Feb 11 My Rotten Tomatoes score: 🦠 See more Tommy D @Thomas005 Jan 18 This chapter is a massacre. Eccept the first, this saga is very very orrible See more Nick B @Yoshmin64 Nov 29 While it’s difficult to pinpoint the absolute worst film in John Carpenter’s Halloween franchise, Halloween 6: The Curse of Michael Myers comes extremely close—only beaten by Rob Zombie’s Halloween II. Where do I even begin with this one? The film throws out the mysterious, shapeless evil that made Michael Myers terrifying and replaces it with a convoluted druid-cult storyline, revealing that he’s been controlled the entire time to kill his family. Nothing kills a horror icon faster than overexplaining him, and Halloween 6 does exactly that. Paul Rudd, in one of his earliest roles, gives what might be the worst performance of his career—awkward line delivery, blank expressions, and the energy of someone who accidentally wandered onto the set. The other characters don’t fare much better. Marianne Hagan is bland and emotionless, even in scenes meant to be suspenseful, like when Michael is choking her or when she’s taken by the cult. She’s a far cry from Jamie Lee Curtis as Laurie in the first two films. The same goes for Devin Gardner as her son Danny, Kim Darby as her mother Debra, and Keith Bogart as her brother Tim—none of them behave like people who want to be in this movie. The only cast member who seems even remotely invested is Bradford English as the abusive father John, but even he is just a stock jerk with no depth. Meanwhile, the movie’s tone is completely inconsistent—part supernatural thriller, part soap opera, part failed slasher sequel. The script feels like it was rewritten a dozen times by people who hated working on the film, and the final product reflects that instability. Director Joe Chappelle brings nothing to the table; his direction feels rushed, indifferent, and lifeless, as if he was far more interested in fulfilling his three-picture deal than making an actual Halloween movie. Characters are introduced only to be forgotten, and the ones who do get killed off die in rushed, empty scenes that carry no emotional weight. Kara’s entire family is heavily established early on, only for the film to completely forget about them after John dies—and not a single character reacts as if anything happened. Visually, the film is a disaster. The lighting is bizarrely dark in some scenes and blindingly bright in others, giving the whole thing a cheap and inconsistent look. Even Michael’s mask looks worse than in most low-budget fan films—misshapen, wrinkled, and flattened, like somebody had been sitting on it before each take. The kills themselves lack any tension, partly because of the weak direction and partly because the characters are so dull that you can’t care about them. John Strode’s over-the-top electrocution drags on forever, while Beth’s death at the campus party happens so abruptly that it barely even registers. Scenes designed to build suspense—such as the early Strode house sequences or the later hospital chase—fall completely flat because the movie rushes through key moments and cuts awkwardly, never earning a single scare. And then there’s the ending. Michael Myers—one of horror’s most iconic and unstoppable villains—is defeated by a pipe, collapses, and bleeds green goo like a smashed Nickelodeon prop while Paul Rudd grins over him. It’s not scary. It’s not shocking. It’s embarrassing. The Producer’s Cut is arguably better, but only in the sense that it expands on an already unnecessary cult storyline. It adds a twist that the baby Michael is trying to kill is his own child—implying he raped his niece—which makes absolutely no sense if the entire point of the cult is that he must kill his family. That version also has an even worse ending: Tommy stops Michael using rocks arranged in a Thorn symbol, Michael escapes by switching clothes with Dr. Wynn, and Loomis is left with the Thorn mark—implying that he, the best character in the earlier films, would now be a villain serving Michael Myers. Both endings are among the worst I’ve ever seen in a horror movie. The only genuinely positive thing about the movie is seeing Donald Pleasence return as Loomis one last time. But even he couldn’t elevate it; he has very little to do, partly due to his age and frailty at the time of filming, and he sadly passed away shortly after production. Halloween 6 is a chaotic misfire that tries to expand the mythology but instead makes the franchise feel smaller, dumber, and messier. It answers questions nobody asked while raising even more that should have stayed buried. This film is the perfect example of how a franchise can suffer a massive fall from grace—going from the first two classic Halloween films to this garbage, which feels like leftover Halloween candy nobody wants. Avoid it at all costs. See more Read all reviews

Halloween: The Curse of Michael Myers

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