Halloween Ends Review: 5 Ups & 5 Downs

2. The Sharp Cinematography

Green's Halloween movies are certainly the most visually compelling entries into the series since Dean Cundey shot the 1978 original, and that's largely thanks to skilled cinematographer Michael Simmonds.

Simmonds, who shot Green's entire trilogy, lends the film a far stronger sense of artistry and identity than it probably needs from a visual perspective.

The gorgeous, angular camerawork during early establishing scenes, contrasted with moody, claustrophobic trawls through sewers and houses, ensure this is at least a handsomely mounted piece of work.

It helps that Ends has some of the more diverse locations of the trilogy, allowing Simmonds to experiment with different lenses and lighting setups to deliver something that looks quite uniquely gorgeous at times.

And best of all, though so many modern films shot in digital fail to replicate the look of their decades-old predecessors, this absolutely feels stylistically consistent with both the '78 film and the two most recent sequels.