I feel like a revisionist for not really enjoying Halloween on my first viewing, but I just can't help but think it only 'works' in a certain context. If this or a modern horror movie were compared in a cultural vacuum, I don't know if this would stand up to the test.
Thrilling. Effective. Simple. Carpenter´s widescreen compositions are essential to the unique atmosphere he creates. This is the work of a very self-assured master. The only thing that really bothers me is the weakly explained fact, that Michael can drive a car!
my father grew up in south pasadena. when they finally tore down and reconstructed the michael myers house, decades after he'd left, I asked him what he thought. he told me he was physically relieved to hear it, the movie had haunted him and the community so totally.
A superbly modulated exercise in controlled terror that increases the tension with economic aplomb. It's rather sullied in comparison by the flood of derivatives that followed, but if one can stand back and see this for the original milestone that it is, then you're looking at a masterpiece of its genre (one it can be argued it created in modern cinema).
Like a plague befalling Egypt, a wind carrying death that flies away(the total, raspy breath), this boogeyman is unnoticed and unrelentless. Not a "scary" movie: a siege. The wide open day sequence is already a game changer 10 mins in. An instant later, "this night, inhumanly patient, no reason, no conscience, no understanding(...)". To oppose him: the sunny youth. The result is surpisingly... dream-pop.