Bright Times News: At least it is over now. Halloween Ends, the bitter and senseless conclusion to director David Gordon Green’s agonizing trilogy of new Halloween movies, wraps up what has been, well, an altogether irritating and senseless six-hour return to Haddonfield.
The series’ themes are twisted into even more perplexing knots by Green and his four credited screenwriters, among them Danny McBride. What was the true subject of these films?
The first one did indeed deal with trauma. The second one dealt with a kind of public wrath brought on by violent crime. These topics are also covered in the third movie, Halloween Ends, which also muses on the inevitable existence of evil.
I suppose this is done to establish some sort of deep thesis statement. Or perhaps the picture is a spoof of self-aware horror movies, with all their awkward allegories and broad clichés. I don’t care if Gordon Green is being sarcastic or not, though. Just relieved I don’t have to think about it anymore.
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This is probably not what Halloween fans were looking for from a movie promoted as a showdown between Michael and his eternal target Laurie Strode, whatever the movie is or isn’t referencing or aiming to. Although that scene does eventually appear, we are forced to sit through far too much of this other man’s problems before the film’s bloody, pointless conclusion.
By delving into profound psychology and perhaps even the supernatural, Green and crew may have been attempting to enlarge the Halloween universe’s mythos and enhance the series’ discourse. Halloween Ends is a weird jumble of tones and theses that is patched together into a movie that is neither funny nor frightening. This endeavor produces very perplexing consequences.
Green makes a horrible, upsetting mess of Haddonfield. Everything in this desolate-looking area squeaks clatters and rattles with ugliness. Everyone is cruel and unpredictable, which is partly explained by the tragedy they have all experienced but is probably primarily attributed to the shoddy writing. Character motivations are difficult to understand because it seems like Laurie has changed over these movies.
Not parts of the same person that has emerged through time, but a whole new persona created specifically for each episode. As a bizarre progression (if you want to call it that) from the hardened survivor of the 2018 picture, Laurie is a caustic, loose-lipped lunatic in Halloween Ends.
In her book, Laurie describes what it was like to be the victim of a psychopath and to have let him into her life at the expense of a great deal of collateral harm to the residents of Haddonfield. I guess the idea is that she has become a little more enlightened, but when the murderer reappears, she is once more transformed into a vengeful creature.
Because Laurie thinks she sees something evil in Corey’s eyes, she is wary of his developing bond with her granddaughter Allyson (Andi Matichak). The way Allyson is so pulled to Corey’s mishmash of suffering and rage may also indicate that there is something wrong with her.
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