In at least two scenes Halloween: The End, which opens in theaters October 14, the script makes a determined attempt to explain the origin of evil. Something he had already explored in the long and convoluted 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 darkness – the impulse to kill – is much more than crime. It is an entity with its own physicality that nourishes, sustains and continues to exist despite attempts to stop it.
Of course, such a view of the universe halloween it makes the layers of dimension of your story deeper. At least, that is the intention of the story, 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 with the vague panic of a nightmare.
The face of horror Halloween: The End
The death of a group of its inhabitants has become an emblem of horror. But in Halloween: The EndHe, Michael Myers, is a ghost again, a ghost haunted by collective fear. Gordon Green uses this resource to carefully develop the idea of a distorted past bordering on interpretation. At the same time, he tries to give the film a sense of continuity. Time passes, passes, fear passes.
Then, the script wanders and collapses in a disjointed narrative and is at various times inconsistent. Is this a Michael Myers comeback story, or a look at how the evil he represents can transcend his figure? There are no answers to the question, and, in fact, at various points the plot does not build a concrete idea of its dialogue with fear. Particularly when the weight of the story falls – again – on Laurie Strode (Jamie Lee Curtis) and her understanding of what Michael Myers could be.
The ultimate survivor is also a key point in the conclusion about the brutal and monstrous connection between the killer and his victim. This has been going on for over forty years. also in Halloween: The End as the scene of a final confrontation that will lead to death or even worse.
Fear is back on the hunt
Halloween: The End he has serious problems with the possibility of Myers as an element of irrational terror. With the killer established to be connected to the unexplained, the film must now complete the idea set out by its predecessor. But he doesn’t understand. And perhaps this is due to his hasty need to state that the scenario he showed has changed, although not the threat that he symbolizes.. The horrors committed by Myers became the basis for urban legends. A script that fades over time.
Not even for Laurie, who is recovering as best she can — especially after the death of her daughter Karen — and is even starting to write. The resource that Halloween: The End used to organize the flow of time in a convoluted saga in the realm of events and events. The character that Gordon Green made the core of his entire trilogy is also a memory this time. The emblem of the survivors, as well as the expectation – painful and silent – the return of evil.
But what could have been a brilliant and well-thought-out idea is immediately undermined. Either because the director manages to pour out elements to tell a particular moment, or because of his inability to delve into any of them.
Halloween: The End and the boundaries of evil
The film is a reckless, weak and sometimes incomprehensible mixture of the possibility of inner darkness with tangible fact. Not only through murder, but through how this bloody need for destruction can be contagious. Actually, the first part of the argument unsuccessfully tries to justify itself 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 more than an announcement for a puzzle that falls apart.
Let it be the possibility that evil spreads contagiously and greedily. The idea is proposed, but immediately contradicts what was in Halloween: Murders. If evil is unstoppable, why is Laurie trying to stop it? The paradox repeats over and over again, despite the argument’s attempt to justify the possibility.
Michael Myers has become the face of all horror
So, the script has no choice but to emphasize its obviousness so often that it gets into an endless loop. Halloween: The End clumsily moves forward in a story that touches on various nuances of his idea of horror. Laurie waits with watchful patience for a man who knows the threat she faces. Time has passed, his fears seem to be supported by nothing but his psychological wounds. But his paranoia becomes increasingly difficult to show when the trilogy has already made it clear that the danger is real, hidden and threatening.
On the other hand, parallel events are disorderly and hurried. His granddaughter Allison (Andy Maticak), who lost her parents during a brutal massacre, restores her life with inexplicable ease. He managed to recover, get an education and is now building a future with difficulty. Also look at the past with a certain emotional distance, which is absurd to say the least. Hasn’t the character encountered an unstoppable killing machine? However, for the current nurse, this does not seem so important. It’s even stranger when he starts a relationship with Corey Cunningham (Rohan Campbell), the consequences of which are so obvious that they seem obvious.
In fact, one of the most difficult moments Halloween: The End it is his inability to skillfully keep his secrets. This is despite saving a few, and the entire plot hinges on Laurie’s, and later Allison’s, ability to discover them. However, the film quickly becomes routine, and when Myers appears, the whole atmosphere collapses in favor of his significance.
The killer who never dies Halloween: The End
True to its 44-year tradition as the most famous slasher in the cinematic world, the film finds its best moments in the massacre. Contrary to Halloween: Murders (messy, absurd, and with an argument that goes through unusual moments), his continuation is more accurate. But that doesn’t improve his ability to talk about all the ways Myers wants to kill.. In this case, the plot of the city turns out to be peripheral, while the whole plot of the murder as a central line becomes clearer.
Michael Myers is back in full force, but Halloween: The End does not honor the symbol of terror. He also doesn’t pay the promised tribute to Laurie, and the confrontation between them is short, unsatisfactory, and sketchy. The plot moves quickly to the point where the premise that evil is spreading like a dark contagion becomes everything. But in trying to maintain this perception of the intangible, he completely ignores the basic fact of Halloween as a saga. Myers is the killer, and Laurie is the object of his unmet need, whatever it may be.
Finally, Halloween: The End it leads to a blurry tangle of subtle facts. Of course, he also goes back to basics. Is death the end of the horrors that the plot showed in sublime detail? The film doesn’t say this, but hints that the door isn’t closed yet for another glimpse of fear. Possibly the worst betrayal Halloween: The End to an entity that supports the entire trilogy.
