Even having creators like Green and Danny McBride approaching the material with the best intentions does little to assuage that concern - the film itself features multiple characters whose benign first impressions are swiftly shown to be false fronts for unpleasant (and even destructive) forces that don't necessarily rival Michael himself but don't make for dependable cases either, and I think that much is true of a film that claims it wants to be the best and only sequel to a film that never truly needed one.
Halloween II 11/13/18
Rob Zombie's approach to remaking the original Halloween was to make it a film of two halves - the first a prologue that depicted Michael Myers as less an inexplicable force of evil than the inevitable end product of an abusive environment, the second a straight retelling of John Carpenter's original film where Michael carries out a killing spree with some minor changes such as including the reveal that protagonist Laurie Strode (Scout Taylor-Compton) is Michael's long-lost sister.
Where Carpenter's original limited Michael's villainous development to a brief but striking prologue depicting his first murder and a handful of expository lines from his psychiatrist, Zombie's reimagining spends about half its sizeable running time depicting an elaborate back-story for Michael that traces the events of that first fateful Halloween through his decade-plus in an institution under the watchful eye of Dr.
Halloween H20: 20 Years Later 11/11/18
However, more often than not it seems like window dressing that only offers the slightest of variations on the formula of teens (namely John and his immediate social circle) being targeted by Michael - this can be discerned by just how much the film really kicks into gear once Laurie becomes directly involved in conflict with Michael past the film's halfway mark (but hey, better late than never, I guess).
Halloween: The Curse of Michael Myers 11/09/18
It definitely doesn't have any qualms about showing Michael getting brutal with his marks as the film progresses, but by and large those are the only worthwhile parts of a film that goes to impressive lengths to undermine the franchise from the inside out.
Halloween 5: The Revenge of Michael Myers 11/08/18
If nothing else, it's certainly at odds with the rest of the film's attempts at goofy humour such as comic-relief deputies getting their own jaunty theme music or even a drawn-out sequence involving Michael wearing one victim's absurdly ugly Halloween mask to dupe another potential victim.
Halloween 4: The Return of Michael Myers 11/06/18
The problem being that Jamie Lee Curtis had moved on to other things so the film had to figure out how to continue on after Halloween II had revealed that Michael Myers' continued targeting of beleaguered babysitter Laurie Strode (Curtis) was due to her being his long-lost sister, thus giving this seemingly-inscrutable killer a concrete motivation that tied into his first murder being that of his older sister.
Halloween III: Season of the Witch 11/05/18
While the bulk of the Halloween series is loosely connected to the holiday by a serial killer who always carries out his murders on Halloween night, Halloween III opts to show its faith in the concept by going even deeper into the holiday's mythology with its extraordinarily bizarre premise.
Halloween II 11/04/18
While this usually manifests in them being unceremoniously bumped off (usually before the end of the first act) in order to make way for a new batch of villain fodder, Halloween II instead sets about building its entire story around the continued survival of Laurie Strode (Jamie Lee Curtis) as she is once again threatened by the inscrutably evil Michael Myers.
Pleasence gets top billing as Loomis, who functions as another foil to Michael in his relentlessly single-minded pursuit of his prey (though he is understandably afforded much more in the way of humanising features), but it's Curtis who charms us as the extremely responsible Laurie to the point where seeing not just her survival of Michael's attacks but also her progression from chipper teenager to a traumatised woman asking if she had really seen the "boogeyman" she'd spent the entire film denying is the true beating heart of a film ostensibly centred around a man with the devil's eyes.