"Halloween" made a ton of money last fall. Timing was part of it. Nostalgia was another.

After 40 years, Jamie Lee Curtis' Laurie Strode is still obsessed with killer Michael Myers.

The now-grandmother has a house wired for action. If the serial killer turns up, she has dozens of ways to kill him. Friends and relatives say she’s obsessed. Really, she’s just prepared.

Myers, meanwhile, is about to be transported to a new prison, which, naturally, means a bus accident is just minutes away.

Director David Gordon Green tosses in plenty of 1970s hallmarks along the way (from the credits’ typeface to that wonky John Carpenter music) and attempts a girl power subtheme with three generations of Strode women.

Because mom is such a character, daughter Karen (Judy Greer) doesn’t want anything to do with her. Granddaughter Allyson (Andi Matichak) is much more forgiving. She thinks Halloween is going to be a chance to get away with her boyfriend, but grandma sounds the alarm.

Sure enough, there’s reason to be concerned.

Myers is on the loose and ready to head home.

To give his “Halloween” (a direct sequel of sorts to the original, not the latest installment in the series) a new spin, Green introduces two podcasters who are eager to tell the real story of Michael Myers. They get into the prison, too, (how did that happen?) and taunt him with the mask (which is even more absurd) before heading out. Myers tracks them to a wretched restroom and makes his feelings known.

While there’s humor here and there (a boy afraid of the dark is particularly good), this isn’t a “Halloween” that bears writer Danny McBride’s fingerprints.

Instead, it’s a trek down a familiar path, highlighted by a showdown that almost makes you feel sorry for the serial killer.

Curtis finds depth in Laurie (who knew?) and gets a chance to show how something like this can move into its own #metoo realm.

She’s ably supported by folks you’ll recognize and she’s given a level of marksmanship that would make her “True Lies” co-stars proud.

“Halloween’s” greatest hits are ones we haven’t seen – moments when Green doesn’t promote the company line. He lets the film have a few goofs, too, and shakes the camera enough to make you think the kids from “The Blair Witch Project” finally got work.

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