“Halloween Ends”: slasher without terror

THE NEW DAILY, SANTO DOMINGO. – In “Halloween: The Final Night,” David Gordon Green quite predictably closes the final chapter in his Michael Myers and Laurie Strode trilogy. And he doesn’t even insist on placing a moment that takes her out of the narrative inertia and makes me feel true fear. It is, in my opinion, a slasher that offers some self-referential coordinates as a conclusive sequel, but whose climate of terror lacks scares that are effective or some element of surprise that prevents it from being repeated uselessly with each bloody death, in almost two hours. in which I stand stiff as a corpse as I witness the uneven pace with which he tells the story of stalking, serial killers, and the nature of evil.

Unlike the predecessors, whose continuity was unraveled in a few hours, its plot is set four years after the events of “Halloween Kills”, where Strode lives with his granddaughter Allyson and tries to overcome the mourning of his deceased daughter by writing his memoirs. on the computer, in order to leave behind the fear and impotence caused by the presence of the evil Myers.

But a large part of the argument puts aside the central conflict to address the subplot of Corey Cunningham, a tormented and withdrawn young man who is deeply affected by having accidentally killed the child he cared for, in the moments that he receives the rain of harassment and prejudices of the people of Haddonfield who treat him as if he were a phenomenon, while he has a love affair with Allyson and deviously awakens homicidal impulses that force him to travel the dark path of the psychopath, as if he were the reincarnation of Myers willing to celebrate killing on the night of October 31.

Not even half an hour passes when I begin to suspect the lack of character development that keeps the entire narrative suspended in the circle of redundancy, where the shocks pass before my eyes in a leaden way that prevents me from leaving terrified by what happens . The dialogues behind closed doors are not something relevant either.

In structural terms, Green unhurriedly follows the usual slasher clichés with abrupt knife violence, dark atmospheres where everything smells of blood, and screaming people yearning to escape the inevitable Halloween massacre; but his whole is rendered unbalanced by that need to expand the arc of Myers’s outcast disciple out of nowhere, through a somewhat trite romantic story and small episodes of humiliation that work to outline his latent desires as a serial killer, something which reduces the role of Jamie Lee Curtis to that of a secondary who only waits her turn to redeem herself with the dagger in the rushed third act about the most anticipated revenge and, above all, gives Myers a very inane excuse to get out of the cave and kill again with the knife.

The lethargic action pacing only makes me yawn, and I care little for the gratuitous brutality that is just around the corner as a jumble to put an end to a franchise that is showing severe signs of exhaustion.

Data sheet
Original titleHalloween Ends

Year: 2022

Duration: 1 hour 50 minutes
Country: United States
Director: David Gordon Green

Screenplay: Chris Bernier, David Gordon Green, Paul Logan, Danny McBride

Music: John Carpenter, Cody Carpenter, Daniel Davies
Cinematography: Michael Simmonds
Cast: Jamie Lee Curtis, Will Patton, Andi Matichak, Rohan Campbell, Kyle Richards,
Rating: 4/10

“Halloween Ends”: slasher without terror