Skip to main content

Film Review: Halloween Ends (2022)

Halloween Ends is not a perfect film but it offers audience members a wild cinematic ride. The Halloween film franchise is loved by a very devoted fanbase (myself included; the original Halloween is my all-time favorite horror film). With that said, no matter what artistic choices director David Gordon Green made for this supposed final entry in the Michael Myers vs. Laurie Strode cannon, there was bound to be unhappy skeptics and intense scrutiny. Here, Green makes bold choices. Instead of following the prescribed playbook for all things slasher film, Green takes us deep into what feels like a dark character study, exploring the psychology of the hunted and the hunter. It's one major downfall is this: the plot feels like a hodgepodge of never fully realized story ideas and this weakness almost derails the film (it's predecessor Halloween Kills was dreadful and ranks as the worst Halloween film made - my opinion). Yet. Green knows these characters, their lore and legacy. He knows how to tell a scary story. What works here is the mesmerizing world we're submerged into (underscored by an awesome soundtrack). Lives are crossing and lines are blurring. We have super survivor Laurie Strode (played with a sweet intensity by the Queen of Scream, Jamie Lee Curtis), settling into a peaceful existence and leading a seemingly healed life. We also have bullied teen Corey Cunningham (played with fantastic complexity by Rohan Campbell, mostly known for his leading role on the recent TV adaptation of The Hardy Boys) sinking into a violent pit of no return. Both of these characters serve as great juxtaposition, each reflecting the impact violence and victimhood can have. Some of the production elements in the film are masterful, including the cinematography and the editing. Green takes his time exploring space and place, allowing the visuals to build and sustain the shifting moods of the movie. While Green gives us the battle we've been waiting for, when Michael Myers and Laurie Strode finally face off for a final time, the film is layered and offers commentary and thoughts on the often brutal society we've become. While Halloween Ends won't make everyone happy, it's a unique horror film on its own, brimming with an artistry rarely seen in contemporary horror films. 

David-Matthew Barnes

⭐⭐⭐⭐🍿🍿🍿🍿

Comments

Popular posts from this blog

Film Review: The Menu (2022)

I hope you bring your appetite to this deliciously devilish film. The Menu , a dark horror comedy film directed by Mark Mylod, delivers every course it serves. Stylistic and aesthetically exquisite, this movie will be celebrated not only for its mesmerizing visuals but for it's clever script, expert direction, and nuanced performances from a cast of ultra talented actors, including a wonderful Judith Light (will someone please put this wonderful woman in more films?). The creepy premise feels simple: a group of self-obsessed strangers find themselves sharing a terrifying experience. They're the guest at a posh, elite private restaurant located on a secluded island in the middle of nowhere (or, so it seems). The first half of the film is a slow move, keeping the audience (and the characters) in one location: the dining room and adjacent kitchen of the restaurant. Mylod takes a chance by keeping us here for so long, but it's a risk that works because, as an audience member, I

Film Review: The Midnight Story (1957)

This dramatic film noir from 1957 is a fun watch. The plot is pretty layered, allowing for a few nice twists along the way. The story centers around a San Francisco traffic cop intent on solving the murder of a priest who was a father figure to him. He goes undercover, falls in love with a female cousin of the suspect, and comes up with a strategy to get a confession. Thanks to the screenwriters (John Robinson and Edwin Blum), the film is more character-driven, rather than relying on action. The character development is rich here, demonstrated in the writers choice to give the cast of characters complicated lives, including those of the police officers involved in the murder case. The acting is top-notch, including one of Tony Curtis’ best performances. Marisa Pavan and Gilbert Roland also shine in their roles, each bringing an intensity and beautiful desperation to the screen. Filmed on location in San Francisco, director Joseph Pevney keeps the story moving forward at a great pace. A