Critic Reviews



Based on 20 critic reviews provided by
Not a routine cut-and-paste horror but a full-fledged revenge fantasy -- and a completely satisfying one.
Halloween: H20 is as stylish and scary as it is ultra-violent. It's a work of superior craftsmanship in all aspects.
H20 is the second-best entry into the series, and, although it's nowhere close to the level established by Carpenter's classic, it avoids the excesses that ruin many would-be horror movies.
This efficient fright machine features a knowing cameo by Curtis's mom -- "Psycho's" Janet Leigh -- a couple of bloody good scares and a genuinely affecting performance from Curtis.
Director Steve Miner, on board because Carpenter passed, made two of the early Friday The 13th sequels and manages the business of the sudden knee-jerk shocks with ease, realising (as the previous sequels didn't) that Halloween movies are supposed to be scary not violent.
Entertainment Weekly
Like Demi Moore leaking tears or Sharon Stone crossing her legs, Jamie Lee Curtis screaming is one of those glorious sights that inspire a generation of moviegoers to binge on popcorn.
Chicago Sun-Times
He can take a licking and keep on slicing. In the latest Halloween movie, he absorbs a blow from an ax, several knife slashes, a rock pounded on the skull, a fall down a steep hillside and being crushed against a tree by a truck. Whatever he's got, mankind needs it.
Christian Science Monitor
It's campy fun, but if you've seen the previous sequels, the plot grows tiresome and lacks shock value.
Miner strives to imbue the film with the requisite autumnal haze of the original but then gives up midway through and instead resorts to the standard stalk 'n' slash formulas.
BRILLIANT and WITTY. Those are two words that will not be used to described this film.
The Globe and Mail (Toronto)
Steve Miner is no Carpenter. A directing veteran of the Friday the 13th saga (parts II and III, in case you care), he's a plodder who favours long, dull buildups to short, dull climaxes -- it's slaughter by the numbers.
Unfortunately, the contemporary horror movie has ceased being an individual work full of surprises and fresh manifestations of the Gothic imagination - it has, instead, been reduced to the level of an inflexible, repetitious, ritualistic event.

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