and over again." Loomis is depicted in Halloween 4 with burn scars from his near-fatal injuries at the end of Halloween 2. Alan Smithee observed Loomis as "more world weary than ever" with physical scars to evidence his worry. Adam Tyner wrote that Loomis served as "more than just connective tissue with the first two films in the franchise. It makes the world of Haddonfield feel more real...more lived-in...that there are consequences that linger and matter." Jack Wilhelmi viewed the inclusion of the Jamie Lloyd character as giving both Loomis and Michael "a tremendous amount of depth and characterization" and "a foil to build off of and play against." "Within this fourth installment, Loomis brought sympathy and tragedy because of his elderly age," wrote Rodolfo Salas, who equated Pleasence's performance to that of a father who had failed their child and whose attempts to reach Michael "brought about a sense of care, depression, and exhaustion." Salas also notes the contrast between Loomis and his knowledge of Michael and Jamie and her being "nearly unaware of her murderous uncle." Patrick Bromley, who cited the Halloween 4 iteration of the character as his favorite version of Loomis outside of the 1978 film, opined that Loomis's "concern isn't so much for Michael's sanity anymore; it's barely even for the safety of Haddonfield's residents" and that the film "is where Loomis really gives in to obsession, and it's interesting to see the character slide closer and closer to the brink of crazy." James Berardinelli called Pleasence "the stabilizing influence" in his review of Halloween 4 and observed that "the character of Dr. Sam Loomis, even as beaten and broken as he is in the later installments, represents a rock of solidity. The ending of Halloween 4 would not have been as effective without Pleasance's entirely convincing reaction of unimaginable horror." The Halloween 5 iteration of Loomis is described as "increasingly unbalanced" by Jason Barr, and as having "apparently lost his mind" by Jesse Sparks, the latter viewing Loomis as having developed an evident mistrust in Jamie and that "his motivations have changed from public servant to becoming strictly personal." Derek Anderson assesses the film as depicting Loomis with an increased obsession with Michael that has been "pushed to a dangerous and almost selfish level." Anderson explains that Loomis views himself as the only one who can stop Michael and "knowing that he may not