Directed by: David Gordon Green
Distributed by: Universal Pictures
Written by Alexander Reams
After the Thorn trilogy, the H20 storyline, and the Rob Zombie masterworks, David Gordon Green has ended his own storyline of “Halloween” films. A staple with the DGG trilogy has been a prologue before the opening credits, and “Halloween Ends” is no different. We’re introduced to a young man, Corey Cunningham (Rohan Campbell) who is babysitting an annoying and entitled kid on Halloween night. After a game of hide-and-seek goes horribly wrong the opening credits roll. Where “Halloween” (2018) used the iconic font from the original ‘78 film, and “Halloween Kills” used the “Halloween II” font, “Halloween Ends” likewise uses the font from “Halloween III: Season of the Witch.” This is a nice nod to what came before but also a hint to the audience at what comes next.
DGG employs a different energy for the duration of “Ends,” the first entry honored the original, and “Kills” is the ultimate metal/slasher/kick-ass horror flick that a lot of people (this writer included) had wanted to see. But in “Ends” DGG has made his own version of “Halloween,” one that feels more in line with his own original films like “Joe” or “Prince Avalanche” rather than an entry within Carpenter’s saga. It’s a breath of fresh air, something that Laurie herself has been looking for in the 4 years that have passed since “Kills.” And in that time several things have happened; 1) Michael hasn’t been seen, 2) Laurie (Jamie Lee Curtis) and Allyson (Andi Matichak) are living together, both trying to move on, with the former in the process of writing a memoir, 3) Corey has become an outcast in town, despite being cleared of all charges he is an outcast in Haddonfield, 4) The people of Haddonfield have turned on Laurie, viewing her as the villain of the story. This is all condensed into about 10 minutes, instead of another movie. After this massive catchup, the story slows its pace. Focusing on the interpersonal relationships between Laurie and Allyson, and Allyson and Corey.
Don’t let this fool you, there are still enough kills and thrills to satiate even the most depraved and kill-happy fans of “Halloween,” including the final battle that we all know is coming. And when it happens, it HAPPENS, giving us a feast for the eyes with fight choreography evolving with the characters. DGG is confident in letting the camera hold and capture two people release 40 years of anger, trauma, and bloodthirst for one another in gleeful fashion.
After the fight, DGG goes back to a major theme he presented in “Kills” Michael hasn’t just terrorized Laurie, he’s infected the whole town with his fear, and when he’s finally dead they don’t just light the body on fire, or bury it, they strap it on the top of a car and drive it through town, for everyone to see. The camera work, the framing, and the visual imagery demonstrated in this sequence is fantastic, but it’s Carpenter’s hauntingly gorgeous piece that plays through the scene that makes it one of the best moments in the entire franchise. While “Ends” may not be the traditional “Halloween” finale that most wanted, it surprised and put the franchise on its head, despite the crammed time jump and scarceness of Michael “Ends” is the definitive conclusion that the “Halloween” franchise has needed for a long time.
“Halloween Ends” Trailer