In at least two scenes of Halloween: The Endwhich can be seen in theaters from October 14, the script makes a determined attempt to explain the origin of evil. Something that he already explored in the long and confusing epilogue of the film that preceded it. But, in this case, the premise goes further. The argument explains, with all the resources at its disposal, that the darkness — the impulse to kill — is much more than a crime. It is an entity with its own corporeality, which feeds, sustains and continues despite efforts to stop it.
Of course, such a look at the universe of Halloween it makes the layers of dimensions of your story go deeper. At least, it is the intention of the narration, which immediately makes it clear that the scenario it will show will be different. Several years have passed since the events of Haddonfield, which are remembered in the vague panic of a nightmare.
Halloween: The End
Michael Myers returns in full force in Halloween: The Finale, but the film fails to pay homage to a symbol of terror. He also fails to pay the promised tribute to Laurie and the confrontation between the two is short, unsatisfying and sketchy. The plot moves quickly to the point where the premise about evil spreading like a dark contagion is everything. But, while he tries to hold a similar perception about the intangible, he completely neglects the basic fact of Halloween as a saga. Myers is a killer and Laurie the object of his unfulfilled need, whatever it may be.
The face of horror Halloween: The End
The death of a group of its inhabitants became an emblem of horror. But in Halloween: The EndHe, Michael Myers, is again a specter, a ghost that haunts collective fear. Gordon Green uses the resource to elaborate, carefully, the idea of a twisted past that borders on the interpretive. At the same time, he tries to give the film a sense of continuity. Time passes, passes, fear fades.
Then, the script wanders and collapses in a disjointed narrative and at various times, contradictory. Is this the story of the return of Michael Myers or a look at how the evil he represents could extend beyond his figure? There are no answers to the question and, in fact, at various points, the plot fails to build a concrete idea about its dialogue with fear. Particularly when all the narrative weight falls — again — on Laurie Strode (Jamie Lee Curtis) and her awareness of what Michael Myers can be.
The ultimate survivor is also the key point of a conclusion about a brutal and monstrous bond between the murderer and his victim. It has been going on for more than forty years. Also in Halloween: The End as the scene of a final confrontation that will lead to death or even worse.
Fear returns on the prowl
Halloween: The End he has real trouble dealing with the possibility of Myers as an element of irrational terror. Once established that the murderer is related to the inexplicable, the film now needs to complete the idea outlined by its predecessor. But he does not get it. And perhaps it is due to his hasty need to state that the scenario he shows has changed, although not the threat that it symbolizes.. The horrors committed by Myers are grounds for urban legend. A scenario that blurs over time.
Even for Laurie, who recovers as best she can — especially from the death of her daughter Karen — and even begins to write. A resource that Halloween: The End used to organize the passage of time in a messy saga in the field of events and events. The character, which Gordon Green became the core of his entire trilogy, this time is also memory. The emblem of the survivors and, also, of the wait — agonizing and silent — for the return of evil.
But what could be an ingenious and well thought-out idea is immediately undermined. Either because the director manages excessive elements to narrate a particular point or because of his inability to delve into any of them.
Halloween: The End and the borders of evil
The film is an ill-advised, weak and at times incomprehensible conflation of the possibility of inner darkness as a tangible fact. Not just through murder, but how that bloody need for destruction can be contagious. In fact, the first part of the argument tries to justify itself, without success, even in its most obvious points.
Can a criminal be the center of a collective obsession? The answer, of course, is yes. But Gordon Green wants the premise to be much more than the announcement of a puzzle that unravels in fragments.
Let it be the possibility that the evil spreads in an infectious and greedy way. The idea is proposed, but immediately contradicts what happened in Halloween: Kills. If evil is unstoppable, why is Laurie trying to stop it? The paradox repeats itself over and over again, despite the argument’s attempt to justify the possibility.
Michael Myers become the face of all horrors
So, the script has no other recourse than to underline its obviousness so often that it falls into an endless cycle. Halloween: The End clumsily advances in a story that touches on various nuances in its view of horror. Laurie waits with the watchful patience of knowing the threat she faces. Time passed, her fears do not seem to be sustained by anything other than her psychological wounds. But her paranoia becomes increasingly complicated to show when the trilogy has already made it clear that the danger is real, latent and threatening.
On the other hand, parallel events are messy and rushed. Her granddaughter Allyson (Andi Matichak), who lost her parents in the midst of a brutal massacre, regains her life with inexplicable ease. She managed to recover, educate herself and, now, is carving out a future with effort. Also, she looks at the past with a certain emotional distance that is, at least, absurd. Didn’t the character face an unstoppable killing machine? However, that doesn’t seem to be all that important to the now nurse. Stranger still, she when she begins a relationship with Corey Cunningham (Rohan Campbell), the implications of which are so plain as to be obvious.
In fact, one of the most complicated points of Halloween: The End it is his inability to skillfully keep his secrets. That, despite keeping several and the entire plot hinges on the ability of Laurie, and later Allyson, to discover them. However, the film quickly falls into commonplaces, and when Myers makes his appearance, the whole atmosphere falls apart in favor of his importance.
The killer who never dies in Halloween: The End
True to his 44-year tradition as the cinematic world’s best-known slasher, the film finds its best moments in the carnage. Contrary to Halloween: Kills (messy, absurd and with an argument that goes through unusual points), its sequel is more precise. But that doesn’t improve his ability to narrate all the ways Myers chooses to kill.. On this occasion, the plot of the town is peripheral, while the whole intention of the murder, as a central line, becomes clearer.
Michael Myers returns in full force, but Halloween: The End fails to honor a symbol of terror. He also fails to pay the promised tribute to Laurie and the confrontation between the two is short, unsatisfying and sketchy. The plot moves quickly to the point where the premise about evil spreading like a dark contagion is everything. But, while he tries to hold a similar perception about the intangible, he completely neglects the basic fact of Halloween as a saga. Myers is a killer and Laurie the object of his unfulfilled need, whatever it may be.
In conclusion, Halloween: The End it results in a blurry confusion of barely glimpsed facts. Of course, it also returns to the origin. Is death the end for the horrors that the plot showed in exalted detail? The movie doesn’t say so, but it hints that the door isn’t quite closed for another look at fear. Perhaps the worst betrayal of Halloween: The End to the essence that sustains the entire trilogy.