Holy shiiiiiit, y’all. Halloween looks fantastic. The new slasher sequel from Blumhouse and director David Gordon Green took the Hall H stage at Comic-Con on Friday, where we got a first look at an extended sequence from the film and it looks like exactly what you would want from a Halloween movie that honors the original. Stylish and terrifying in its simplicity, fueled by cinematography and pumping that iconic John Carpenter score. Oh and Michael Myers looks truly scary again.

Before they unveiled the footage, Green took the stage alongside producers Jason Blum and Malek Akkad and Jamie Lee Curtis to talk a bit about the film with panel host Yvette Nicole Brown. Curtis strutted out on stage like she knows she owns the place, and she did. The crowd went absolutely nuts for her and Curtis has some real motherfucking poise.

And she kicked off the panel with one hell of an answer about why she wanted to come back: because Green wrote a character who is taking back her own narrative. Curtis explained the take on the character, saying that Laurie Strode is a woman who was attacked by a random act of evil at the formative age of 17, who never got mental help, and who was fundamentally transformed by her trauma. With the new Halloween, we get to see Laurie push through her PTSD and take back her narrative, to say she isn’t defined by her trauma. “I am going to take back the legacy of my life, I am going to take back my narrative, you don’t own me anymore,” Curtis explains.

Curtis also pointed out that she thinks the original film is so terrifying because it’s about a random act of violence, and it’s the randomness that makes it get under your skin. You’re in a small town with beautiful girls living the kind of life we all hope for when this horrible thing intrudes. We get to see the epitome of that randomness unfold in the extended footage they unveiled for the crowd.

The footage opens in the streets of Haddonfield, where two children are walking and bickering down a crowded midwest road when they bump into a man — a man dressed in that iconic jumpsuit. It’s Michael Myers. It’s The Shape and he stands there, unmoving, cutting a figure of death and destruction in the middle of the happy Halloween night. Suddenly but slowly, he turns. His head swivels to the right and his body follows, mechanical and precise. He walks up the path to someone’s home, the camera following behind him, giving us a voyeuristic view of the violence that’s about to unfold. Ahead in the distance we see a woman walk out of a shed and just after she’s gone, Myers steps inside, grabs a hammer and follows her into the house. The camera follows behind, stalking him as he stalks and then stops outside the window, perhaps an even more voyeuristic perspective, peering into her home.

The Shape walks in, hammer in hand, and the woman crosses through the kitchen, walking behind a wall where we can’t see her. The Shape moves slowly behind her and the music jolts; a loud bump of adrenaline. We hear a gasp and then a scream and then silence as Myers makes the kill, all behind the wall, just out of view. He returns with his hammer dripping blood and drops it in favor of the kitchen knife she left on the counter. The camera moves again and we follow Myers through the house, room to room. Oh no, there’s the sound of a crying baby and for just a second I wonder how far Blumhouse is going to take this. The Shape stops dead still in front of the crib, but mercifully he moves on, walking out of the house and back out into the bustling Halloween night.

With The Shape ahead and rows of Jack-o-Lanterns in the background, that classic Halloween score begins to chime. He turns to the right and we see a couple who forgot their keys — costumed as the classic slutty nurse and doctor duo — but they’re a diversion. The camera pans back around to Myers and he turns a hard right, walking up to another house where a woman is pacing, chatting on the phone. He leans down into the window and watches, we see his chilling reflection staring in, then he’s gone and the camera stays in place — peering through the window again. From that vantage point, we see his shadow pass on the side of the house, and soon enough, he walks up behind the woman just as she leans over to close her curtains. Brutally fast, he grabs her head and smashes it into the window pane and before she can even get out a proper scream, he stabs her right through the throat.

After that we get a sort of trailer cut, some footage familiar from the first trailer — Laurie at the shooting range, Myers dropping a handful of teeth — and some new. We see more of Laurie’s family, including a scene where they’re trying to escape Myers, and we see some new stunning imagery, including a Michael Myers-esque mask carved out of an actual human face. This movie is NOT pulling any punches and it looks so damn good.

Following the footage, there was one more touching moment on the panel worth noting. When the fan Q&A kicked off, a man walked to the microphone in tears and told Curtis that he survived an assault on his home because he thought “What Would Jamie Lee Curtis do?” Curtis, who is a verifiably wonderful human, called him up, left the stage, and hugged the man while he cried. They had a private chat, while she held his face and stroked his cheeks, and it’s just about the sweetest damn thing I’ve ever seen.

For more on how wonderful Jamie Lee Curtis is, be sure to check out our interview with the actress from the set of Halloween and stay tuned throughout the weekend for more of the latest from Comic-Con.

Halloween opens in theaters on October 19th.