Slasher franchises frequently tease the death of their homicidal foes before breaking their word. I thus have some beautiful Florida swampland to offer you if you’re hoping that Halloween Ends— the 13th installment in the franchise, including Rob Zombie’s two great remakes will be the final chapter in the Michael Myers narrative. Follow For More Updates on our website or Google News: newsyorbits
Halloween Ends is the third installment of the Halloween franchise directed by David Gordon Green, all of which, chronologically speaking, directly followed John Carpenter’s ground-breaking 1978 original. It features the countless showdown between the masked marauder and Jamie Lee Curtis’ perpetually stalked Laurie Strode, who keeps trying to kill the killer who has turned her life into one long traumatized nightmare and failing.
However, this time, things might go differently! The supposed conclusion by Green is more of the same unfrightening rubbish dressed up with gibberish about evil, surviving, and suffering. The title of the movie plays more as a short tease than as a promise because this current iteration is so dismal, even though everyone knows that another remake is only a few years away.
Halloween Ends and pretends that it’s forever ending Michael’s reign of terror. Nevertheless, Halloween Ends picks up four years after its predecessor, with Laurie living in a new Haddonfield, Illinois, home with granddaughter Allyson. The latter continues to work at the hospital that was overrun by an enraged mob in the mediocre previous installment of Halloween Kills. To deal with her emotional scars, Laurie is writing a book on her experiences with Michael.
When she runs into Deputy Frank Hawkins in the grocery store, she is strong enough to flirt. The most notorious of these tragedies is a 2019 incident — depicted in a prologue — in which babysitter Corey ‘Rohan Campbell’ is taunted by the child he’s watching and, through a confluence of unfortunate twists of fate, accidentally kills the boy, making himself a local pariah. Haddonfield, alas, remains a spooky place that’s “infected” with some sort of lethal plague that causes countless trade
Corey now works at the mechanic business owned by his eccentric mom’s boyfriend, and Laurie arranges for him to meet Allyson after defending him from a mob of high school bullies. Whiplash-inducing is the speed at which Allyson warms to Corey, and Halloween Ends wants to portray them as a pair united by the gruesome pain of their past and the rejection they still experience today.
Allyson and Corey mostly feel like an item because the movie wants to bring the deranged Corey into Laurie’s orbit, but Green’s script (co-written with Danny McBride, Chris Bernier, and Paul Brad Logan) falls short on that front. It’s the kind of shoddy writing that’s characterized Green’s series efforts, and in this case, it permeates every cringe-worthy word these people speak as they whine, moan, and cry with a consistent woodenness.
Things get violent when Michael, who has reportedly been hiding out in the rat-infested sewers for four years, drags Corey into the underpass’ enormous storm drain pipe after being forced off a bridge by his tormentors. When they look one other in the eyes just as Michael is about to choke Corey to death, the boy somehow absorbs some of Michael’s brutality.
It doesn’t take long for Corey to start enjoying his darker impulses because Halloween Ends introduces a number of people whose main aim is to be cruel to Corey and, as a result, to become the subject of his fury. As Corey begins to prowl around Laurie’s front yard hedges like Michael, Laurie soon gets the feeling that something is wrong. However, because she introduced Corey to Allyson, she realizes that breaking up the pair could endanger her connection with her granddaughter.
Even though there is just one notable death that involves the slicing of a tongue, Halloween Ends indulges in a decent quantity of gore. The real horror is, however, conspicuously absent. Green totally fails when it comes to creating tension or providing shocking payoffs. He can’t go two minutes without attempting to startle viewers with some exaggeratedly loud noise.
There isn’t a single terrifying scene in this film; instead, there are a number of unremarkable killings carried out by people other than Michael, who is first weak and seeks to recover by slashing helpless people. The multiple bad sequels that all used the same plot devices—having the masked boogeyman appear behind his unsuspecting victims—have diminished Michael’s fear factor, but that’s not a justification for the scare-free set pieces that are sorely lacking.
With the exception of having blonde hair, Curtis broods in the same way she did in Halloween 2018 and Halloween Kills 2021, and just like Michael, her routine is worn out to the point of parody; when people accuse Laurie of secretly wanting Michael to find her, it’s challenging to see the flaw in their reasoning.
The issue is made worse by the ongoing back-and-forth in which Corey is referred to as the “psycho” to Laurie’s “freakshow” and Allyson is a lifeless presence. It comes as no surprise that Allyson’s overtly sexual coworker is doomed because continuity errors are as numerous as clichés, giving the proceedings a general lack of intensity.
Worst of all, Halloween Ends’ climactic confrontation between Michael and Laurie plays like a farce despite being ostensibly decisive. It’s also tough to take its finale seriously after two hours of discussion about how evil is similar to poison, especially because earlier episodes referred to Michael as a “concept” rather than a real person.
Therefore, the only aspect of this whole ordeal that can be considered relatable is the image of one guy choosing to ignore the monotonous mayhem occurring outside his window in favor of watching Jean-Claude Van Damme beat ass in Hard Target.
