Almost exactly 40 years after she made her film debut as Laurie Strode in 1978’s Halloween, Jamie Lee Curtis is still unbelievably proud to be a member of the Strode family.
On Sunday, as the film’s 2018 sequel of the same name wrapped up a record-smashing opening weekend at the box office, Curtis shared her excitement about the film’s debut on Instagram. “OK. I’m going to go for one BOAST post,” she captioned a photo of her standing next to Judy Greer and Andi Matichak, who play her daughter and granddaughter, respectively, in the new horror film.
“Biggest horror movie opening with a female lead. Biggest movie opening with a female lead over 55. Second biggest horror movie opening ever. Second biggest October movie opening ever. Biggest Halloween opening ever. Couldn’t be prouder of ALL who made this creative experiment have such a thrilling result!” Curtis continued, adding, “#womengetthingsdone #threetallwomen #threestrodewomen #strodestrong #timesup.”
The post earned tons of supportive comments from many of Curtis’s past costars. “Yes queen,” Emma Roberts wrote. “CONGRATULATIONS,” Abigail Breslin added, while Niecy Nash commented, “Congrats my Queen!!!” alongside plenty of red heart emojis.
According to Box Office Mojo, in its opening weekend, Halloween raked in $77.5 million in the U.S., plus another $14.3 million internationally. That $91.8 million total does indeed set all the records Curtis mentioned in her post. Per The Hollywood Reporter, the biggest horror movie opening came courtesy of 2017’s It, which garnered a whopping $123.4 million in its first few days in theaters. The biggest October opening, meanwhile, goes to Venom, which premiered just a few weeks before Halloween to an $80 million opening.
Beyond just financial success, Halloween has also been praised by many critics. The movie is already “certified fresh” on Rotten Tomatoes, with 80 percent positive reviews, and it has a respectable B+ rating on Cinemascore. Of course, we here at Glamour have also praised the film, noting that it’s strongest as a “tribute to the many ironies of the mother-daughter relationship.”