Halloween Ends are cruel in a bad sense.

Halloween Kills of 2021 was the infinite warfare of the modern Halloween franchise. It’s an ambitious film that expanded on its predecessor, but ultimately felt like an incomplete story. But instead of bringing things home with their Endgame equivalents, Halloween Ends is more like Game of Thrones season 8. It’s a hasty entry that skips important character development, forgets the plot of the last two films, and eventually betrays them. Why was this reboot worth seeing in the first place? David Gordon Green’s trilogy Capper feels like a definitive ending to a Halloween series led by Jamie Lee Curtis, but fans might beg someone else for another stab rather than end Michael Myers’ reign of terror on such a poignant note. A child Michael stabs his sister, kills a few babysitters, leaves one survivor and prepares for his return for decades, finds himself locked in a burning house, but somehow survives and escapes to kill the survivor’s daughter. Remember? Green and co-writer Danny McBride, working this time with Paul Brad Logan and Chris Bernier, assume you’re not, as Halloween Ends kicks off with a full flashback sequence summarizing the whole story so far. The trust issue is exacerbated there, as horror films constantly remind viewers not only of moments in Halloween history, but of what literally happened a few minutes ago and the character relationships that should have been obvious by now. Everything not bluntly pointed out is swept under the rug. Michael killed Karen (Judy Greer)? Do not worry. At the end of the Halloween Kill, is the whole town enacting crowd justice and losing miserably against Michael Myers? The important thing is that everyone is still scared and paranoid. Instead of solving Halloween Ends, everyone has forgotten about Michael, and Strodes mostly chooses four years after the next kill incident. Green and his colleagues reconstruct the behavior of an unrelated character, Corey Cunningham (Rohan Campbell). And when it comes to Shape, he hid until Corey fueled his thirst for blood. Michael Myers, Halloween Ends Photography: Ryan Green/Universal Pictures Despite Laurie Strode and her traumatic trilogy by Ryan Green/Universal Pictures, Halloween Ends doesn’t delve deeper into the importance of trauma. Several characters, including Rory’s granddaughter Allison (Andy Marticek), convince Rory to think Michael’s return is her fault for obsessing over him. The tonal shift is close to victim shame and a complete betrayal of what was considered the heart of the film. Thankfully, Jamie Lee Curtis still shines as Laurie, whom we meet here at another point in his life. Four years after their brutal encounter, Ends learns that Laurie is writing her memoir, baking pies for Allyson, and flirting with Will Patton’s agent Hawkins. After two emotionally heavy acts in the previous two films, it’s great to see Curtis deliver some truly fun moments that ignite a recent remark that he wants to relax his comic muscles for a while and do another Freaky. friday. Halloween Ends seems to be rushing to reach the finish line, but it’s rushing towards the action you’d expect from a Halloween movie. That’s because most of the 111-minute running time is spent on Corey, who is strangely obsessed with Michael Myers, who becomes a socially underdog in a fatal event on one Halloween night. If nothing else, your turn is ambitious. Halloween Kills extends its reach to the entire town, and Halloween Ends takes a bold choice with Corey’s story as the film explores whether evil is created by the environment or awaits unshakable liberation already within us. Halloween Ends continues the thread of murders asking if Michael Myers is a 70-year-old psychopath or an evil incarnation. It is a supernatural being that can heal itself through murder and can almost communicate its essence to others. Everyone’s favorite character, Corey, joins Laurie in Halloween Ends Photo: Ryan Green/Universal Pictures. Unfortunately, Green doesn’t seem interested in answering the big questions. Also, he can’t find a new way to bring Michael Myers to life, focusing on Corey for most of his running time and using a much more varied and disturbing tone that belongs to a Kevin Williamson Scream script rather than Halloween. He throws away the modernized John Carpenter footage and camera work that became essential for his first Halloween sequel for less creative or lively films where the camera barely moves. Of course, there is a real showdown between Rory and Michael. After an hour of following Corey, he arrived too late. There are some nice and creepy kills too, but most of them happen off-screen or are deliberately marred by staging. While the Halloween Kills were a brutal slasher that puts us in Shape’s place, David Gordon Green tries everything he can to overthrow the primordial origins of the premise. There is little shame that runs throughout the film. The Halloween saga, started in 1978 by John Carpenter and Debra Hill, ends with this film. Even though Halloween 2018 began exploring trauma through horror, nothing in Ends is rewarded with investigation. The trilogy isn’t ultimately about how evil takes hold of us and wreaks havoc through paranoia. This was an ambitious trilogy trying to take the Halloween franchise to a new place, but it eventually failed, introducing so many ideas that they quickly gave up and forgot one thing that had always been there: Laurie Strode. Halloween Ends will be streaming on Peacock on October 14th to coincide with its theatrical release.
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