Quentin Tarantino Wanted an Oscar Campaign for Jamie Lee Curtis in ‘Halloween H20’… And He Was Right
To really know this writer is to know that I’m not a huge fan of modern Jamie Lee Curtis performances. […]

To really know this writer is to know that I’m not a huge fan of modern Jamie Lee Curtis performances. […]

“She didn’t have anything to prove anymore. She was already a star. She was already an icon,” Tarantino said of Curtis. “She had grown into her persona in this really cool way. And watching this grown woman deal with Michael Myers was pretty terrific.”
The movie arrived in the middle of that glossy ’90s teen-horror wave. Scream and I Know What You Did Last Summer were huge, and Urban Legend followed shortly after H20. In retrospect, there are fantastic movies in that bunch. At the time, though, the genre started to feel suffocated by young-adult horror, a sensibility that eventually found a comfortable home on The CW.
H20 very much exists within that world. You’ve got the young cast, the school setting, and the teen scares. But Curtis gives it something that still matters to me almost three decades later.
We’re watching Laurie decide she’s fucking done running.

That moment when she sends everyone away, grabs an axe, and goes looking for Michael is the whole movie for me. She makes a choice. She’s terrified, she knows what he can do, and she turns around anyway.
I find that infinitely more compelling than the version of Laurie in David Gordon Green’s Halloween, who spends forty years preparing for Michael’s return. All those preparations and booby traps never worked for me the way Laurie’s decision in H20 does. Curtis makes you believe that this woman has reached her limit, right there, in that moment.
I don’t want to turn this into another argument about why I hate the 2018 movie. I keep saying I never want to talk about it again, and here I am.
The point is that Curtis is extraordinary in H20. You need to feel everything Laurie has been carrying for that confrontation to work, and she gives you that. By the time she calls out Michael’s name, I’m completely with her.
And then she cuts his fucking head off.
What a way to end the movie. What a way to end the franchise.
“I thought she was fantastic in that movie,” Tarantino continued, explaining that “it truly felt like a full circle had come.”
That gets at exactly why the ending was so satisfying. Laurie finally gets to finish this on her terms. Everything Curtis puts into the performance pays off in that last confrontation.
Which is why I was so pissed off when Halloween: Resurrection revealed that she had actually killed a paramedic instead of Michael. We’d watched what felt like the perfect conclusion, only to have the next movie take it away.
But that doesn’t erase what Curtis accomplished in H20. For me, it remains one of the great horror performances of that decade, and the ending still feels like the place Laurie’s story should have stopped.
I wish Tarantino had gotten that Oscar campaign. This was a performance worth fighting for.