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Halloween II

Halloween II

Horror · Thriller · 1981

After failing to kill stubborn survivor Laurie and taking a bullet or six from former psychiatrist Dr. Sam Loomis, Michael Myers has followed Laurie to the Haddonfield Memorial Hospital, where she's been admitted for Myers' attempt on her life. The institution proves to be particularly suited to serial killers, however, as Myers cuts, stabs and slashes his way through hospital staff to reach his favorite victim.

Movie details

Halloween II

“More of the night he came home.”

1981 Horror · Thriller 1h 32m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

After failing to kill stubborn survivor Laurie and taking a bullet or six from former psychiatrist Dr. Sam Loomis, Michael Myers has followed Laurie to the Haddonfield Memorial Hospital, where she's been admitted for Myers' attempt on her life. The institution proves to be particularly suited to serial killers, however, as Myers cuts, stabs and slashes his way through hospital staff to reach his favorite victim.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Halloween II?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Rick Rosenthal

Written by

John Carpenter · Debra Hill

Jamie Lee Curtis

Jamie Lee Curtis

Laurie Strode

Donald Pleasence

Donald Pleasence

Sam Loomis

Charles Cyphers

Charles Cyphers

Leigh Brackett

Jeffrey Kramer

Jeffrey Kramer

Graham

Lance Guest

Lance Guest

Jimmy

Pamela Susan Shoop

Pamela Susan Shoop

Karen

Hunter von Leer

Hunter von Leer

Gary Hunt

Court is in session

Put Halloween II on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Big-Idea Head

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Sentimental Softie

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.