FILM & REVIEW Ok went into this with the lowest of expectations which was just as well as it’s terrible. After the bright start Gordon Green had brought to the reboot he followed up with Kills which was pedestrian at best but this is just really dull. It begins quite well with a whole new spin on the story but then almost nothing happens for the next 40 mins. Laurie (with an improved hair-do) has written a book and is all bright and cheerful but then something happens that basicly reduces Michael to a walk on bit part in his own franchise - plus didn’t they do a similar twist in part 5 or 6 of the original run? Ok - Curtis gets to do a lot more than last time but then it’s clump clump stab stab - repeat until the end……which hopefully means that is the final one ….ever…..and if it is it ends not with a bang but with a whimper - 2/5
Get past the excruciating first few scenes with smart-arsed kids and goofy adolescents and the unfolding story of young Corey is so enjoyable and well-played/written that for a while, you almost forget you're watching a Halloween film - much less, the final (?) film in the trilogy that began with the 2018 reboot.
I might be the wrong demographic for this; Michael Myers was initially an enigmatic force of evil, with a strong suggestion that he might be more than human somehow. The 1978 original showed he was particularly difficult to destroy, but no real answers were given until a stream of sequels had to somehow expand his character without giving too much away - which in my view made him, and the franchise his stories had become, ludicrous. That's why I applaud the way this production kept him very much in the background for the first half.
The kills, when they come, are often disappointing and bloodless, occurring off-camera or 'artfully' in the background. Some impress though - the local DJ, for example, comes to an impressive end.
The acting is suitably intense throughout; Jamie Lee Curtis really does convey a lifetime of fighting an unstoppable enemy. "Evil doesn't die, it just changes shape," she says at one point. In all, I enjoyed this closing caper a lot more than I expected to. After seemingly endless rehashes, the Halloween trilogy ends on a real high - not what many expected but imaginative and effective as far as I'm concerned. And there are a few punch-the-air moments like when John Carpenter's familiar music kicks in during the end credits. My score is 8 out of 10.
I certainly hope this is the actual end because this is a real dud. The (hopefully) closing chapter of a money making franchise that's done little other than overshadow the originality of John Carpenter's 1978 classic. An attempt at a series of mediocre slasher/horror films that have struggled with storylines and this one is no exception. Of course Michael Myers has returned and is now lurking on the edges of town in a sewer where he manages to recruit a a fellow psycho in the form of Corey (Rohan Campbell), a young man who accidentally killed a child years ago while babysitting and has been vilified for it ever since. So of course he's ripe to take on a bit of vengeful slashing around town all the while courting Jamie Lee Curtis' Laurie's granddaughter. Laurie, of course, remains obsessed with Myers, much to everyone's annoyance. There's some odd good bits and some gore as you'd expect and at least Laurie doesn't look like some demented bag lady anymore having tidied herself up. But the film is a limp horror film that offers nothing new so lets hope it's properly the end.
Michael Meyers returns for the final chapter of this sequel trilogy. Well, he sort of does. Meyers is treated more like a force of evil that infects a community rather than being the prime target of terror in this sequel. Most of the film treats Meyers more like a force of evil while his final-girl survivor Laurie is a force of good. Both of their clash in a battle for the morality of a town stricken with grief.
Placed in the crosshairs of this vicious battle is the teen Corey (Rohan Campbell). His life was looking up but took a dark turn when a babysitting gig turned into an unfortunate death. With Michael Meyers having been out of the picture for a year, the town treats this boy as their killer to keep an eye on. Years later, Corey tries to get his life back on track by working at his dad’s junkyard and forming a possible romance with Laurie’s Allyson (Andi Matichak).
Laurie (Jamie Lee Curtis) is more interesting in this story as she seems to be recovering well. Michael may still be on the loose but his absence has led to her moving on with her life. She comes to terms with the past by writing her memoirs in between baking pies for her granddaughter and flirting with a police officer. Every now and then, however, she is cornered by another victim, reminding her of the darkness she’s tried to leave behind. Laurie struggles to remain stoic during these moments. So how can she possibly hope to save someone like Corey from going down a dark path when she’s barely been able to overcome her own darkness?
This is an interesting topic in a film that explores far more than Halloween Kills. Rather than finally fulfilling the prophecy of Laurie being the one to kill Michael Meyers, this film touches upon the influence that Michael has left on the community. What will happen when Michael finally is gone? Will the town be able to heal or are they so damaged that they’ll discriminate for the sake of mob justice the way they did in the previous film? If evil can’t truly be killed, how do you come to terms with it and find a better life? All great topics that I did not expect from a slasher franchise such as this.
Relax, slasher fans, you still get to see Michael Meyers and there are still plenty of brutal kills. By the time Corey takes note of Michael’s manner of killing, we get some truly bloody slaughters in the name of revenge. Faces are melted with fire, heads are stomped, chests are stabbed repeatedly, and, oh my, I dare not spoil a creative kill that goes down at a radio station. And, yet, there’s an almost jarring effect to having these campy kills placed upon a picture that wants to tackle a broader topic of evil and how it can spread within a community ill-equipped to handle those who are damaged. Come to think of it, there are a lot of scenes that miss the mark, despite the good intentions. For example, there’s a rather crucial scene between Corey and his feuding parents which sadly doesn’t hit as well as it should. The punchline of Corey’s father wishing him love feels like an off-beat moment in a David Lynch movie more than it does a high-minded Halloween picture.
Halloween Ends is going to be a highly divisive film for taking some bold swings into new territory. Not all of it works and there are some scenes that falter, but, ultimately, I was rather pleased to see a slasher picture go down these routes. All of it makes for a fascinating film that is more intriguing on a thematic level rather than the boring wincing and whining from those who will declare this the worst Halloween film because “How come no Michael Meyers until act 3?” Halloween 3: Season of the Witch didn’t have Michael Meyers AT ALL, but, whatever.