As a consequence, Halloween 4 is the one where Michael begins to take on a supernatural bent, although the flick still attempts to walk a fine line—and potentially end it. During the conclusion of the movie, Michael Myers is, to quote the good Dr. Loomis, “in Hell where he belongs.” And Dr. Loomis doesn’t appear wrong. By the time the credits roll, Michael’s been run over by big sister Rachel Carruthers (Ellie Cornell) and then shot to so many pieces by Sheriff Ben Meeker (Beau Starr) and the entire Haddonfield police force that you might’ve thought he was holding a cellphone instead of a butcher’s knife.

The finality of this shoot ‘em up is due to producers again trying to be creative and suggest “the curse of Michael Myers” can be passed on from Michael to his niece, sweet little Jamie Lloyd Carruthers (Danielle Harris), who ends the movie by slaughtering her adopted mother and posing as Uncle Mikey in a clown costume. Alas, when the choice came down to completely undo this ending and bring Michael back from the dead yet again in Halloween 5, it sure made things awkward in the Carruthers household….

6. Halloween II (2009)

Cause of Death: A Sister’s Love

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Like just about everything else in regard to Rob Zombie’s Halloween II, Michael Myers’ death scene feels perfunctory. We may be among the few who do not absolutely loathe Zombie’s admittedly quite flawed remake/reimagining of the original story in Halloween (2007), but that film showed everything Zombie had to say about his radically different vision of these characters.

Ergo, Halloween II is largely an exercise in bleeding a stone dry, with little of merit beyond a pretty tense “Nights of White Satin” chase sequence at the beginning (which turns out to be a dream). The ending at least finds a way to reinforce the ending of the 2007 movie again by emphasizing even more that “love hurts” when Tyler Mane’s looming, seven-foot-tall Michael kills his opportunistic psychiatrist (Malcolm McDowell) again, and is then killed by his little sister Laurie Strode (Scout Taylor-Compton). Again.

There are two versions of how this goes down: In the theatrical cut, Michael falls onto some gnarly farm equipment and is then butchered by little sis with his own knife; in the director’s cut, he is gunned down by the police. Michael’s ending is perfunctory either way, much like the movie. What’s important is a nice, if bleak, touch where Zombie and Taylor-Compton’s Laurie gives into her trauma demons by assessing all her big brother has taken from her… and then putting on his mask. In one version, she is subsequently also gunned down by the police, and in the other she is captured and committed to the same psychiatric ward where Michael spent most of his life. Either way, the Myers’ peculiar sense of love continues in the bloodline, with Laurie accepting her grim destiny.