![]() It’s Halloween night, and the neighborhood buzzes with children darting down the streets, collecting candy and talking about the spooky house across the street. Michael’s return to Haddonfield has been 40 years in the making. Challis’ look to the camera pierces right to your soul. ![]() “Stop it! Stop it! Stop it!” he screams into the phone. Challis has made his way to a nearby gas station where he begins dialing up various local TV stations to convince them to stop running the disturbing commercial. When the clock counts down, it appears to be true and that anyone wearing one of the company’s masks will have their head crushed and turned into insects and snakes. There’s a big giveaway happening on Halloween, and promotion, including that earworm of a jingle, is in full swing. The secret cult is led by Conal Cochran (Dan O’Herlihy), who masks his scheme behind children’s masks manufactured by Silver Shamrock. Throughout the film, he uncovers a diabolical plot to kill every child in America. Challis (Tom Atkins) is a man on a mission. Except for the shocking ending (more on that later), it’s the film’s finest hour.ĭr. Somehow incredibly agile, Michael peeks over the ridge and creeps his way toward them. The Halloween Theme kicks in, and it’s a full-throttle sequence. ![]() Thinking on her feet, Rachel knocks out an attic window with a suitcase and climbs out onto the roof with Jamie clinging to her back. Once Michael has slaughtered everyone else in the Meeker house, only Rachel and Jamie (Danielle Harris) remain. When confronted with the literal incarnation of evil, she held her own every step of the way. Rachel (Ellie Cornell) more than earned her place in the Final Girl Hall of Fame. Fortunately, Laurie and Will (Adam Arkin) are on hand, and it leads to the epic, long-awaited family reunion. “Someone open the fucking door!” screams John, pounding on the inner door. From Molly slamming a rock into Michael Myers’ head to her dropping the keys, it’s one of the series’ best chase scenes. Paired with the score, it’s a heart-pounding sequence that catapults the audience into the thrilling third act. When John (Josh Hartnett) and Molly (Michelle Williams) discover Sarah’s (Jodi Lyn O’Keefe) body hanging from a light fixture, they run for their lives through the campus. “I spent eight years trying to reach him, and then another seven trying to keep him locked up, because I realized that what was living behind that boy’s eyes was purely and simply… evil.” Set within the decrepit Myers house, the verbose speech slices to the heart of one of the most iconic horror villains, and it’s still enough to make your blood run cold. “I met this six-year-old child with this blank, pale, emotionless face, and the blackest eyes 一 the Devil’s eyes,” he says. Loomis clues the audience and Sheriff Brackett (Charles Cyphers) into the evil lurking behind The Shape’s mask. īut first, here are three honorable mentions : the car chase scene in Halloween 5through the field behind Tower Farm the gnarly conclusion in Halloween Killsduring which Michael slaughters countless townspeople and the revelation that Ellie is a robot in Halloween III. From character monologues to heart-pounding chase sequences (and everything in between), this list celebrates the 20 best scenes in the Halloween universe, including a few from 1982’s Halloween III: Season of the Witch. ![]() While the franchise’s carnage is always up for discussion, I wanted to focus in on those non-kill scenes一mostly, I may have snuck in one or two一that linger with you long after the movie has ended. Through it all, there’s always been something worth talking about, no matter how divisive. There have been exciting highs and terribly grim lows. Over the course of 44 years, the Michael Myers saga has given us plenty of frights. With the release of Halloween Ends, and before the series is inevitably rebooted again, it’s time now to take stock of the franchise and its best moments. No longer will The Boogeyman be haunting the streets of Haddonfield. Halloween as we know it has finally come to an end.
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