If the first two films, Halloween and David Gordon Green’s Halloween Kills, were more concerned with recalling and summoning the past, Halloween Ends is about leaving it behind. Stay with Zoomji and review this movie.
Slasher cinema has taught us that monsters never die. He manages to come back in any way – even in an illogical and unbelievable way. As the famous masked killer of the Halloween series, Michael Myers, has always been found again on Halloween night over the years. In this sense, the title Halloween ends, for the last film of David Gordon Green’s Halloween trilogy, it may seem a little strange and disingenuous. Because this isn’t the first time we’ve seen the end of Michael Myers’ murders. For example, in Halloween 2, Michael catches fire in front of Laurie Strode at the end of the movie, and also at the end of Halloween 4, Michael is shot and falls into an abandoned mine. So even though Halloween Ends is the final part of Gordon Green’s trilogy, since the series has been around for more than four decades, we’ll still see it continue. Although Green’s narration of this story has reached its end after four years.
Slasher cinema has taught us that monsters never die. He manages to come back in any way – even in an illogical and unbelievable way
David Gordon Green’s Halloween, which hit theaters in 2018, was the starting point for his ambitious project. A film whose events were directly related to the adventures of 1978 – and John Carpenter’s Halloween. The characters who, after years of those adventures, met with their worst nightmares once again with the return of Michael. Most of the Halloweens after The Witching Season (Halloween 3) were never successful. The movies that stripped Michael of all his meaning and left him with nothing but evil and murder. But with Halloween 2018, Greene tried to combine the coordinates of Carpenter’s Halloween world with the spirit of our time, and also give coherence to the story of Michael and Lori. A movie that was able to satisfy the fans of the original movie to a good extent.
If Halloween showed that the monster never dies with Michael’s return, Halloween Kills embodied him as an evil nature that is contagious. Although the film was less successful than the previous one, it was able to provide a symbolic and acceptable social interpretation of Michael’s story in the context of the contemporary world. In fact, Greene tried to do with Halloween what Carpenter did with it the first time (albeit to a lesser extent). Green Kills on Halloween shows that Michael is the evil force of a deviant society. An evil that spreads like a virus in society and infects people.
In the following, parts of the film’s story are mentioned
“Evil never disappears, but changes form.” These are the last sentences Laurie Stroud writes in her autobiography at the end of this episode. A book that is a description of his life and his past traumatic events and Halloween adventures. Halloween is over, it’s about getting over a collective trauma and exorcising past traumas. An opportunity to look back at the past, confront its fears and traumas, and remove them to make way for a new beginning. A new beginning, which of course does not mean eternal salvation, because as Stroud writes, evil never goes away.
Halloween is over, it’s about getting over a collective trauma and exorcising past traumas.
What uniquely sets Halloween Endings along with Halloween Kills is the idea of how evil reproduces. Green kills on Halloween, presenting mass hysteria in the face of evil as the cause of evil. Where the people of Haddenfield, with the slogan “Satan dies tonight”, confront violence with the appearance of chaos, which results in the proliferation of violence. The title Halloween Kills – not Michael Myers Kills – seems to emphasize this idea. The idea that ends on Halloween forms the main plot of the film. In fact, Halloween 2022, rather than being a traditional slasher in the style of the Halloween world, depicts a story of how an ordinary person transforms into an evil and destructive character.
The film opens with a surprising introduction that inverts the plot of the nanny in the Halloween series; Where a young boy named Corey (Rohan Campbell) takes care of a troublesome child on Halloween night 2019 and accidentally causes his horrible death. This short prequel begs the question, will there be no more evil even if Michael disappears? This introduction tells us that evil may disappear even temporarily, but the impression of its presence does not disappear. As we see in this introduction, in the night when there is no news of Michael, people are still afraid and suspicious. On the scariest night of the year, naive Cory feels the effects of this pervasive paranoia. The fear and paranoia that accuses him of murder and changes his fate forever.
What specifically sets Halloween Endings in line with Halloween Kills is the idea of how evil multiplies.
This prequel also raises the question of what’s scarier: the monster itself or his imagination? Michael always has a ghostly and shadowy presence. An invisible presence that we may feel but does not show itself easily. In the introduction to the film, Green hypothesizes that he can be anywhere, even if he is not seen. As in the opening sequence, Michaeli does not exist in reality. But the fear overcome by Cory turns him unintentionally into a criminal. Is Green’s suggestion that fear and paranoia itself can be the basis of evil?
Three years after the incident (and four years after the events of Halloween), with a seemingly peaceful return to town – but suspicion still lingers – we see Lori (Jamie Lee Curtis) trying to live a quiet life with her grandson (Andy Matichak). be carefree He is trying to write an autobiography and answer the question of who or what Michael really is. But it’s not long before Michael’s legacy terrorizes Haddenfield again. Because soon Michael’s essence penetrates into the existence of one of the city’s inhabitants.
Finishing a trilogy is not an easy task. Because the last film of a trilogy is the summation of all three of them. Where we are going to reach a meaningful and satisfying end point
Kori, who has become an outcast after being released from prison, is constantly harassed and humiliated by the people of the city, especially a group of his peers. Among them, only Lori and her granddaughter Alison sympathize with him. Because all three of them suffer from a common trauma: rejected people who unite with each other’s suffering and loneliness. Now working for his father in a junkyard, he gradually enters into a romantic relationship with Alison with Lori’s mediation.
It looks like Corey is ready to start a new life, just like Lori and Alison. But the constant harassment and harassment of the society that intensify the guilt and fear of the sufferer’s blindness eventually turns him into what others say about him. When a desperate and traumatized Cory throws herself off a bridge one night, she comes face-to-face with the devil, Michael Myers, who lives in an abandoned tunnel in the city. Gordon Green shows Michael as he continues to live in a dirty, underground environment, as if he has become the dark collective unconscious. A devil who lives in the hidden darkness of the normal world around.
From this point on, Cory becomes a victim of society and becomes a vengeful character who destroys anyone who gets in his way. In this way, it can be said that Corey is a kind of helpless and hopeless version of Lori. If Halloween 2018 featured Laurie as a survivor in a vortex of paranoid cynicism and vengeful rage awaiting the return of her nemesis – but ultimately choosing isolation – Cory decides to vent her rage and madness through Haddenfield. Cory’s relationship with Michael strengthens Michael as well. It is as if they know each other and understand each other without exchanging a word. Laurie also feels that something inside her has changed after she sees Corey. This Cory is not the good, suffering boy he knew.
Corey represents a classic victim. A good person who has everything wrongly taken away from him – the right to a normal life – and comes to the conclusion that there is no point in being good anymore. It can be said that Halloween is almost about him and the adventures of Alison, Lori and Michael are formed around him. But this potentially good story idea unfortunately does not develop properly and the film gradually loses its initial appeal to the point where it falls into the abyss of a youth drama. The love affair between Cory and Alison develops in the most clichéd way possible, and things like the tension between Alison and Lori – which is unpaid and shallow – only distract us from the main idea of the film.
Halloween comes to an end as if Gordon Green himself had grown weary of his ambitious project. A film that doesn’t know in which direction to expand its story and ideas and finally chooses the easiest paths.
Perhaps one of the reasons for this issue is as if Green himself does not know which story line of the film he values more: the story of Corey and Alison or the story of Lori and Michael? The result of this confusion is a kind of indecision in the payment of the characters and the development of the central idea of the film. For example, Lori’s trauma, which is never clearly explained, suddenly becomes the main issue of the film. A person who decides to stop being a victim and wants to start a new life, but ends up going back to the war with his old enemy.
While we are with Corey for a large part of the story, he quickly becomes a marginal character that we would like to get out of the frame of the picture as soon as possible and return to the story of Lori and Michael. Because the movie ultimately prefers to pay tribute to the main character of this series, Laurie Stroud, so that it can finally give her the gift of redemption. An idea that could not be the story of this movie but the story of another sequel.
Finishing a trilogy is not an easy task. Because the last film of a trilogy is the summation of all three of them. Where we are going to reach a meaningful and satisfying end point. But Halloween ends as if Gordon Green himself had grown tired of his ambitious project. A film that doesn’t know in which direction to expand its story and ideas and finally chooses the easiest paths. The film neither has the courage to keep Michael Myers completely in the shadows (but in a way that makes us feel his presence at every moment), nor can it connect its not-so-cohesive story lines in a logical connection.
The film insists on the concept of evil until its final third (as in the previous two films), but in the final part it decides to depict a completely objective encounter with it: a fight with an embodied monster to destroy evil. Although the central idea of the film can still be traced by referring to Lori’s final sentences, it does not reduce the senselessness and superficiality of the final confrontation with evil.
Green wants to expand on the idea that monsters don’t just happen. It’s no wonder that in this final film of the trilogy, Michael doesn’t have much to do as usual, and it’s Cory who carries out his brutal actions. Green also wants to tell us that it is the citizens of Hadenfeld themselves who are creating a new monster. As they may have done with Michael in the past. But is evil really destroyed? Can blackness be overcome? Who is Michael Myers? Just an incarnation of evil? Or an old legend? Instead of addressing these questions, Green leaves us with a superficial and repetitive confrontation at the end.
He gives a very physical and understated embodiment to an evil that could still be lurking in the shadows. Michael, who seems like a retired monster for most of the movie, takes center stage again and goes to Lori. A monster that is destroyed in the end easier than we imagine.