[Critique] Halloween Ends, the essence of evil

A year after setting fire to the powder room in dark rooms with Halloween Killsthe carnage of Michael Myers ends with Halloween Ends, third and final installment of the franchise under the aegis of Bluhmouse. Featuring Jamie Lee Curtis, Andi Matichak, Rohan Campbell, Will Patton, James Jude Courntey and Nick Castle, the feature film prepares us for a final confrontation between the boogeyman and his nemesis, Laurie Strode…

In 2018, Jason Blumhouse had the hollow nose by bringing one of the most formidable villains of the seventh art back to life from hell, with a successful reboot. Under the direction of David Gordon Green, Halloween became the franchise’s highest-grossing installment with $255.6M in worldwide receipts (for a budget amounting to $10M), giving – logically – to continue to explore this macabre playground.

This resulted in the setting up of a diptych, a story of concluding in blood and violence the pas de deux between Michael Myers and the Strode sorority, brought to cross swords in suffering. What we have seen in Halloween Kills, where our implacable killer has sown death from one end of the small town of Haddonfield to the other, striking his favorite enemy in the heart as an apotheosis, thus sowing the seeds of a twilight duel to complete this new loop of the saga. Meanwhile, a global pandemic has disrupted the established schedule, leading the creative team to review its copy on the chapter to put an end to the abuses of the serial killer. From this time of reflection was born the desire to deepen the notion of evil, in order to show its devastating nature, which is in itself a rather interesting idea. A track transforming in depth Halloween Ends which, to everyone’s surprise, deviates from its main trajectory to remain in the semi-darkness and feed on the darkness to evoke the demons that can lie dormant in everyone – for better or for worse.

In a city bruised by the ravages of a single man, the torments of the victims can fuel a downward spiral and lock everyone in an endless circle where despair prevails. A dark context seeking to demonstrate that Michael Myers is only the symptom of an illness, which can infect anyone and cause a new tragedy for the not so quiet town of Haddonfield. A sort of reinterpretation of the famous curse of Michael Myers, which embarked the franchise on a mystical gloubi-bulga in the early 90s. There was therefore material to raise the level in the field of the supernatural, the fragile bases once erected being able to destroyed without great regret. A hastily carried out rehabilitation project by David Gordon Green and his co-screenwriters Danny McBride, Chris Bernier, Paul Brad Logan, testifying to the brutal change of direction that took place during the pre-production of Ends.

Evidenced by the forceps introduction of a new protagonist, Corey Cunningham, keystone of this third opus made in Blumhouse, vector of this transmission of evil. A screenplay choice at first ballsy, suggesting that this counterpoint could breathe a breath of fresh air into the saga. Alas, the plot skates quickly leaving too little room for the two pillars of Halloween, Laurie Strode and Michael Myers, who remain on the periphery of the story told by the director. Corey’s shift to the dark side of the force could have been relevant if it had been thought out before this final dytic, allowing the public time to empathize with the character, traumatized by an unfortunate intentional homicide before witness his fall into the abyss of violence. Here, by vampirizing space, the latter exasperates more than it arouses concern, all the more so when an unhealthy romance begins with Allyson, Laurie’s granddaughter who also has her share of suffering. .

The potential was there except that the pieces of the puzzle fit together with difficulty, the writing lacking in depth, wanting to go faster than the music in the development of this metaphorical concept of evil begetting evil, which is a shame. There remains Laurie’s journey, leaving revenge behind her to relearn how to move forward, which has its good times, but the script pays too little attention to it, while it allowed Jamie Lee Curtis to offer a variation of this alter-ego that she has known only too well for the past four decades. Overall, there are obvious cuts to be felt on screen and just like its predecessor, it smacks of the long version for the video market – which may allow this inconclusive conclusion to be reassessed. If it wants to be anti-climatic, this swan song does not forget to play the slasher card in its last straight line, the spirit of Michael coming to remember our good memories in order to complete his way of the cross under the aegis of Blumhouse. Enough to wake up a tad David Gordon Green, whose staging proves to be more powerful as soon as the violence is expressed, with two, three well thought out sequences. Which is already taken.

© Universal Pictures

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[Critique] Halloween Ends, the essence of evil