“Halloween Ends”, a heretical and exciting finale

Less bloody, more intimate, this thirteenth part of the saga initiated by John Carpenter in 1978 more than honorably concludes a new trilogy haunted by the contamination of Evil. “Halloween Ends” is a quasi-existentialist horror film.

October 31, 2019. A one-night babysitter, young Corey Cunningham (Rohan Campbell) causes the accidental death of the boy in his care. A disturbing prologue that propels us, three years later, to Haddonfield.

Laurie Strode (Jamie Lee Curtis) moved into a house with her granddaughter, Alysson (Andi Matichak) after her own daughter was killed at the end of the previous installment by Michael Myers, who vanished from. Laurie now seeks to forget the psychopathic killer who haunted her life by trying to write her memoirs to exorcise her demons.

Cleared by the court, but overwhelmed by the inhabitants of Haddonfield, Corey Cunningham remains, for his part, devastated by the accident he caused. Considered by all to be an infanticidal psychopath, he crosses paths with Laurie, who is still perceived as a freak. Their paths logically converge and Laurie introduces Corey to Alysson, who soon develops a romance with him. But the young man is plagued by increasingly irrepressible impulses. Chance pushes him to the sewers on the outskirts of Haddonfield where, for years, a breathless Michael Myers has been holed up.

>> To see: the trailer for the film “Halloween Ends”

A follower of Myers

After “Halloween” (2018) and “Halloween Kills” (2021), the trilogy directed by David Gordon Green and produced by Jason Blum therefore comes to an end. Let’s say it right away: apart from a rushed finale that certainly didn’t interest the filmmaker, this “Halloween Ends” turns out to be more than pleasing. The bloody deluges of the previous installment, which confused Michael Myers with the Jason of “Friday the 13th”, are discarded in favor of an increased focus on the characters and their inner journeys.

>> To read also, our large format: Halloween: genealogy of an immortal saga

If we are surprised at first not to find any trace of Michael Myers to support the tension of the film, we quickly notice that the interest is elsewhere and resides in this new character who guides the dramaturgical and thematic stakes of the film. ‘story. Corey Cunningham, therefore, victim of the opprobrium of the citizens of Haddonfield, a man destroyed by the group, a psychopath in the making who quickly resembles an ersatz, a disciple, a double of Michael Myers.

For his part, Myers appears as a tired figure, at the end of his career, whom this episode even envelopes in a quite disturbing Christic aura, as if to remind us that the inhabitants of Haddonfield deified the killer, granting him supernatural immortality by the strength of their fears and their superstitions.

A scene from the movie “Halloween Ends” by David Gordon Green.

Evil as Cancer

In addition to inducing a very ambiguous relationship with Corey Cunningham, whom the viewer follows with a mixture of empathy, repulsion, even terror, “Halloween Ends” embodies its purpose in the tragic evolution that this character will experience.

Victim and executioner, the young man thus breathes two fascinating ideas into the saga. First, that of showing this Evil as a cancer which grows, which devours a being from the inside, a cancer moreover nourished by the gaze of others. It is because the entire population of Haddonfield continues to lock him up in the image of a psychopath that Corey becomes one, an existentialist idea par excellence at the heart of this thirteenth part. Here, Evil is no longer an abstract and external entity, it is both endemic and immanent, bubbling inside a body, singular and social.

The other idea, a corollary, is to humanize Evil, to get out of the allegorical bogeyman represented by Michael Myers to bring it back to an earthly dimension, so to speak banal. Certainly, Rob Zombie had already exploited this point of view in his remake of “Halloween” released in 2007, and its direct sequel in 2009, making Myers a being of flesh and blood endowed with demented brutality.

But in this “Halloween Ends” the idea becomes all the more remarkable as it highlights how the entire community of Haddonfield has made the creature that has terrorized them for over forty years and that, in order to get rid of it , we must crucify the antichrist, take away his mystical dimension with a new atheist look, not to say heretical with regard to the cult that the Halloween saga has shaped since 1978.

Rafael Wolf/sc

“Halloween Ends” by David Gordon Green, with Jamie Lee Curtis, Andi Matichak, Rohan Campbell, Kyle Richards.

“Halloween Ends”, a heretical and exciting finale