Halloween Ends Review: They Got Jamie Lee Curtis' Laurie Dirty

Halloween Ends Review: They Got Jamie Lee Curtis’ Laurie Dirty

2021’s Halloween kills was the Infinite War of today’s Halloween franchise – an ambitious film that expanded the scope of its predecessor, but ended up feeling like an incomplete story. But instead of taking things home with a Endgame equivalent, Halloween ends plays more like Game of Thrones Season 8: A rushed entry that skips major character development, kind of forgets the plot points of the last two films, and ultimately betrays what made this reboot worth watching in the first place. David Gordon Green’s Trilogy Capper is doing feel like a definitive end to Halloween series directed by Jamie Lee Curtis, but fans could be begging for someone to put another stab at it rather than end Michael Myers’ reign of terror on such a sour note.

Remember when Michael was a kid who stabbed his sister, killed some babysitters, left a survivor who spent decades preparing for his return, then got trapped in her burning house but somehow survived , and escaped to kill the survivor’s daughter? Green and co-writer Danny McBride, this time working with Paul Brad Logan and Chris Bernier, assume you don’t, as Halloween ends begins with a whole flashback sequence that sums up the whole story so far. The trust issues only get worse from there on, as the horror film constantly reminds viewers not only of moments in Halloween history, but also things that happened literally minutes before, and character relationships that should be clear by now.

Anything not stated bluntly is swept under the rug. Michael kills Karen (Judy Greer)? Don’t worry about it. Entire City Is Enacting Mafia Law Against Michael Myers By The End Of This Year Halloween kills, then lose miserably? The bottom line is that everyone is still scared and paranoid. Instead of resolution, Halloween ends picks up four years after the events of kills, with everyone forgetting about Michael, and the Strodes mostly on the sidelines. Green and his cohorts reframe the action on an unrelated character, Corey Cunningham (Rohan Campbell). And as for the Form, he’s been hiding until Corey whets his thirst for blood.

Michael Myers, crawl, in Halloween ends
Photo: Ryan Green/Universal Photos

Despite this entire trilogy supposedly riding on the shoulders of Jamie Lee Curtis’ Laurie Strode and her trauma, Halloween ends never delves deeper into the meaning of the trauma. It has multiple characters, including Laurie’s granddaughter, Allyson (Andi Matichak), to trick Laurie into thinking that Michael’s return was somehow her fault for being obsessed with him—despite both the audience and witnesses of multiple characters like Allyson themselves, who know otherwise. The tone shift borders on victimization and a complete betrayal of what should be at the heart of this film.

Thankfully, Jamie Lee Curtis still stars as Laurie, whom we meet here at another time in her life. Four years after her brutal encounter, Ends finds Laurie writes a memoir, bakes cakes for Allyson and flirts with Will Patton’s deputy Hawkins. After two emotionally heavy performances in the previous two films, it’s actually lovely to see Curtis tense her comedic muscles for a while, delivering some really funny moments that should add fuel to the fire of her recent comments about wanting to do even more. a Crazy Friday.

although Halloween ends seems to be in a big hurry to reach the finish line, it lingers to the action you’d expect from a Halloween movie. That’s because most of the 111-minute playtime is devoted to Corey, who becomes a social pariah after a deadly incident on a Halloween night and strangely obsessed with Michael Myers.

If nothing else, the turn is ambitious. Halloween kills expanded the scope to the whole city, and Halloween ends makes some bold choices throughout Corey’s storyline, as the film explores whether evil is something created by one’s environment or something already inside us, unshakable and just waiting to be unleashed. Halloween ends continues the thread of kills of whether Michael Myers is a 70-year-old mentally ill man or an evil incarnate human being, a supernatural being who heals himself by killing and can almost pass on his essence to others.

Laurie in a green dress and belt and Corey in a brown leather jacket and jeans stand on a leaf-covered suburban street in Halloween Ends

Everyone’s favorite character Corey hanging out with Laurie in Halloween ends
Photo: Ryan Green/Universal Photos

Unfortunately, Green doesn’t seem interested in answering the big questions. He also can’t find new ways to enliven Michael Myers, focusing most of the runtime on Corey and using a very different and more terrifying tone that belongs in a Kevin Williamson Scream script rather than a Halloween a. He rejects the modernized John Carpenter imagery and camera work that became essential to his first Halloween sequel for a less creative or energetic film in which the camera barely moves.

There is, of course, a real showdown between Laurie and Michael, one that comes too little too late after following Corey for an hour. There are some cool and gruesome murders, but most of them happen off-screen or are deliberately subverted by staging. Where Halloween kills was a brutal slasher who seemed to put us in the shoes of the Shape, David Gordon Green does everything he can to undermine the original origins of the premise. There’s almost a sense of shame about the whole movie.

The Halloween saga, begun by John Carpenter and Debra Hill in 1978, ends in this movie, but the ending cannot justify the existence of this continuation of the story. Even if 2018 is Halloween out to explore trauma through horror, there’s nothing in it Ends it’s worth it. In the end, the trilogy wasn’t about how evil grips us and wreaks havoc with paranoia. This was an ambitious trilogy trying to conquer Halloween franchise to new places, but it ultimately falls short, introducing so many ideas that it is quickly abandoned, while forgetting the one thing it should always have been about: Laurie Strode.

Halloween ends opens in wide theatrical release and at the same time streams on peacock on October 14.

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