Noah Thompson’s review published on Letterboxd:
This isn't a man.
It's the breathing at the very end. I find it representative of two things. One, Michael isn't gone. The evil hasn't been defeated, even after all of the death and carnage. Two, not only does Michael remain, but he could be anywhere. In any room. In any house. Evil has the potential to linger in every nook and cranny of society and the subconscious. If the events that happened in Haddonfield, Illinois on that fateful night in 1978 correlate to fate, as is brought up in Laurie's classroom, then it's an uncomfortable fate. Evil is inevitable. It's a cruel, unrelenting force that can never be defeated, but it can be fended off, at least for awhile. I have come to somewhat dislike Sam Loomis with each new viewing of this, as I find him to be a very poor representation of a therapist in media, but in the world of the movie and as a character, I still find him deeply compelling. How cruel, how empty in your eyes and your soul do you have to be to convince someone whose entire occupation it is to help people that you are beyond help, beyond treatment, beyond humanity? Loomis and Laurie against Michael Myers is such an interesting dynamic to me, these very flawed and human individuals against an indiscernible force. The ending will now and forever remain one of the most bleak conclusions in as popular of a feature this is. Somewhat on that note, if we were to compare the budget of a movie with the overall quality of the feature, I have full confidence in saying that Halloween is one of the best movies ever made. With a roughly $300,000 budget, John Carpenter and crew not only set major ground rules for the slasher subgenre, but what makes for stellar horror and smaller budgeted features as a whole. We owe more than we could ever express to the man behind the mask. Happy Halloween to all. I hope you all still got your one good scare.