After the dutiful but effective 'Halloween 'and the bloviatingly tedious 'Halloween Kills,' at long last, 'Halloween Ends' does manage to reinvent this series — right before (presumably) killing it dead forever. BilgeEbiri writes
hot takes about trauma and media opportunism and mob justice in an unattended blender of fan service and gore, this new film takes a step back and remembers to tell a story, with characters and everything. In so doing, it plays to director Green’s strengths and largely steers clear of the pitfalls that dog many a horror sequel. There’s no desperation to escalate, no tiresome fetishization of the gruesome.
The only person who seems to show Corey any kind of grace is longtime franchise survivor Laurie Strode , who after the events of the previous film appears to be trying to shed much of her gun-toting, survivalist persona. She’s also working on a memoir, which means we get to see her at a computer, Carrie Bradshaw–style, offering voice-over insights about Michael Myers. Her new attempts at a soft-focus life notwithstanding, Laurie secretly wants to mix it up.
Watching the slow-building romance of Corey and Allyson against the backdrop of this dead-end small town, it feels at times like director Green has finally brought to the series some of the charm of his earlier independent films. Here are two young people who’ve been ostracized by almost everyone around them, united by one another’s pain and loneliness; it’s the first time in many apicture that the characters have felt like actual people.
Literally: He’s apparently living in an abandoned concrete drainage pipe, half-dead among the cobwebs. One encounter with Corey, however, and suddenly Michael has a newfound lease on life, as if the negative energy of this place and these people has begun to feed him. It’s all veryAt least for the first half.
, that bizarrely creepy, slow-burn one-off that was once widely loathed but has now been reclaimed as a beloved cult item. The new movie is maybe not quite as goofy, but it has a similarly irreverent spirit, a refusal to fit into the demands of the broader slasher genre and a cavalier attitude toward this specific slasher’s so-called lore. After the dutiful but effective
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