- R (Gore, Bloody Horror Violence, Throughout Language, Some Sexual References)
- Christmas, horror, mystery, and thriller
- Language of Origin: English
- David Gordon Green directed.
- Producers: Bill Block, Jason Blum, and Malek Akkad
- The authors are David Gordon Green, Chris Bernier, Danny McBride, and Paul Brad Logan.
- Release: October 14, 2022, in theatres
- Release Date: October 14, 2022 (Streaming)
- 1 hour 51 minutes.
- Universal Pictures is the distributor.
- Dolby Atmos audio mix
- Scope: Aspect Ratio (2.35:1)
- RATING: 1.9/5
The grandiose film Halloween Kills from 2021 was the Infinity War of the modern Halloween franchise; it widened the horizons of its predecessor but ultimately seemed like an unfinished tale. Halloween Ends, however, plays out more like Game of Thrones season 8: a hurried entry that skips over crucial character development sort of forgets about story details from the previous two films, and ultimately betrays what made this reboot worthwhile to watch in the first place. Even if David Gordon Green’s trilogy-capper feels like a conclusive conclusion to the Halloween films starring Jamie Lee Curtis, some fans could be pleading for a second attempt to avoid ending Michael Myers’ reign of terror on such a depressing note.
Do you recall that when Michael was a young child, he murdered several babysitters, left one survivor who had spent decades preparing for his return, got caught in her burning home but managed to escape, then went on to murder the survivor’s daughter? Assuming you don’t, Green and co-writer Danny McBride, this time collaborating with Chris Bernier and Paul Brad Logan, open Halloween Ends with a lengthy flashback scene that briefly summarises the entire plot to date. The lack of trust only becomes worse from there as the horror film repeatedly reminds viewers of character relationships and events that have already occurred in the past, as well as historical events that occurred on Halloween.
Everything that isn’t spelled out clearly is ignored. Karen’s murder by Michael (Judy Greer)? Don’t stress over it. At the conclusion of Halloween Kills, the village attempted mob justice against Michael Myers but failed miserably. What matters is that everyone is still frightened and suspicious. Halloween Ends picks up four years after the events of Kills—with everyone having forgotten about Michael and the Strodes largely in the background—instead of providing closure. Green and his allies refocus the action on Corey Cunningham, an unrelated figure (Rohan Campbell). Until Corey stokes his hunger for blood, the Shape has been hidden.
Halloween Ends never delves more deeply into the relevance of Laurie Strode’s trauma, despite the fact that this entire trilogy is supposed to be supported by her and her trauma. Jamie Lee Curtis plays Laurie Strode. Several individuals, including Laurie’s granddaughter Allyson (Andi Matichak), are used to make Laurie feel guilty and make her believe that Michael’s return was her fault even though the audience and numerous character witnesses, including Allyson herself, know differently. The shift in tone verges victim-shaming and is a blatant betrayal of the movie’s central message.
We encounter Laurie here at a different time in her life, but thankfully Jamie Lee Curtis still shines in the role. The ends see Laurie writing a memoir, making pies for Allyson, and flirting with Will Patton’s Deputy Hawkins four years after her gruesome incident. It is actually enjoyable to watch Curtis get to exercise her comedic chops for a bit after providing two emotionally taxing performances in the previous two movies. She pulls off some genuinely amusing moments that should support her recent comments about wanting to do another Freaky Friday.
Halloween Ends dithers toward the action one might anticipate from a Halloween movie, despite appearing to be in a tremendous hurry to get there. That’s because Corey, who suffers a fatal tragedy one Halloween night and develops an odd obsession with Michael Myers, takes up the majority of the 111-minute running time.
The turn is ambitious, at least. Halloween Ends makes some brave decisions through Corey’s plot as the movie tackles whether evil is something that is formed by one’s environment or something that is already within us, unbreakable, and just waiting to be unleashed. Halloween Kills broadened the scope to the entire town. The question of whether Michael Myers is a 70-plus-year-old mentally sick man or the devil incarnate—a supernatural monster who cures itself via the act of killing and can nearly pass on his essence to others—continues from Kills in Halloween Ends.
Green, though, doesn’t appear eager to provide definitive answers. He also struggles to give Michael Myers new life, concentrating on Corey for the majority of the running time and utilizing a tone that belongs in a Kevin Williamson Scream script rather than a Halloween one. He does away with the updated John Carpenter graphics and camera work that was crucial to his first Halloween sequel in favor of a duller, less inventive, and less exciting movie.
Of course, there is a real confrontation between Laurie and Michael, but it comes an hour too late and too little too late. There are a few cool and gory deaths, but the majority take place off-screen or are purposely made less gory by staging. David Gordon Green makes every effort to undermine the primitive beginnings of the premise, in contrast to Halloween Kills, which was a nasty slasher that seemed to put us in the role of the Shape. The entire movie is almost under a cloud of guilt.
In this movie, the Halloween narrative that John Carpenter and Debra Hill began in 1978 comes to a finish, although the conclusion cannot justify the existence of this sequel to the original story. Even though Halloween 2018 intended to use horror to investigate trauma, Ends doesn’t offer satisfying answers. The main theme of the trilogy wasn’t how paranoia fuels evil and causes destruction in the world. This was an ambitious trilogy that attempted to expand the Halloween universe, but it ultimately failed because it introduces too many concepts that it rapidly drops while overlooking Laurie Strode, the central character who was always meant to be the focus.