A revival midway between a sequel and a “reboot” of the saga halloween David Gordon Green and Danny McBride started halfway through with a 2018 movie that hooked Jamie Lee Curtis / Laurie Strode to later go through the more or less beaten paths of the nostalgic simulation that is characteristic of our day. Fortunately and unexpectedly (at least for this author) Gordon Green and McBride reserved the next two installments of what was to be their trilogy. halloween kills and present here Halloween: The Endmess around a little.
From an endless supply of victims from killscrazy, petty and gory sequel like most, we move in this third and last to a kind of simulation of that original intention of John Carpenter to turn his original Halloween saga into a kind of auto-final chapters with a failed Halloween III: Day of the Witch (1982). This intentionality is present and how in Halloween: The End, where we are sold the final climax of Jamie Lee with Michael Myers, no longer his brother, but the genesis of a new criminal is inserted, a direct consequence of the previous one. It is here, especially here, that the “high concept” that Gordon Green wanted to instill in us with his trilogy resides: an exploration of how Evil, fear, spreads like a virus in modern America, but also needs roots or an inner predisposition to develop. . What are the kangaroos and the baby watching? Thing in the prologue, where Myers is present, but in an unexpected way, it can’t be a random tidbit about what happens next.
The fact that Myers’ object of desire is one of those “insels” destined for immediate consumption of this sequel is just one of the delightfully suicidal touches that this sequel allows itself. Halloween: The End, a film that is sure to disgust (not without reason) many fans of the original, but which only deepens, on the other hand, the mythical confrontation between Good and Evil, placing its two incarnations, Laurie and Michael, as witnesses of one of the consequences of its colossal history , an ordinary Halloween story, and, incidentally, a sequel about a huge bitch that the continuation of the movie symbol entails (if the new killer, in turn, works as a continuation of the previous one). In this sense, it is noteworthy how Michael Myers, and even Laurie Strode herself, almost showed themselves to this character as tempters, the devil and the angel appearing on the shoulder, in an attempt to catch some inner impulses of a guy who has more demons than something else.
Gordon Green turns Haddonfield (now a more ugly industrial town than ever) into a sort of supporting-character-rich setting for a river-movie that crystallizes in a sort of blend between the narrative of the TV series that directly follows the Survivors drama. , with dramatic changes to the eighties horror sequel. Despite the assumption of these clarifications, formally Halloween. End it’s as brazen and unsophisticated as you’d expect from a B-series video store, something that’s even a breath of fresh air in a time of “heightened horror”. Blasphemous and devout, the film in some way continues the tradition of some of the “ugly sisters” from the family of slasher sequels, from Friday the 13th: A new beginning a Friday the 13th: Jason Goes to Helland of course the above Halloween 3with some delightful scenes of purely practical gore effects to complete a very good job.
Halloween: The End only hits theaters on October 14th.