With the release of “Halloween Ends” on Peacock and in theaters, we can now reflect on director/co-writer David Gordon Green’s overall goal for his “H40” trilogy. “Halloween” 2018 finds Michael Myers (James Jude Courtney) escaping 40 years after his original depredations in Haddonfield, Illinois. It’s a purist throwback for the fans.
But the follow-ups are not “for the fans” in the traditional sense of that term – giving people a well-crafted take on what they’ve seen before. Last year’s overstuffed “Halloween Kills” is a treatise on how vengeance can warp a small town, and the slightly more focused “Ends” is a commentary on how societal cruelty and indifference can turn an otherwise decent individual toward evil.
Cursory Curtis
One can’t help but wonder if there was some behind-the-scenes negotiating to assure Jamie Lee Curtis that while she’d appear in three new movies, she wouldn’t have to carry them on her shoulders. (This is her last “Halloween”; she has gone so far as to sign a contract to that effect. She has played Laurie Strode in seven films across three timelines.) Laurie is hospitalized for most of “Kills” and serves as a voiceover thematic sounding board for most of “Ends.”
“Halloween Ends” (2022)
Director: David Gordon Green
Writers: Paul Brad Logan, Chris Bernier, Danny McBride and David Gordon Green
Stars: Jamie Lee Curtis, Andi Matichak, Rohan Campbell
Laurie does get her final showdown with Michael – it’s not like Green is so far in the “I’m gonna do it my way” camp that he overlooks core principles. But I suspect many fans will be disappointed that “Ends” is not a typical “Halloween” film. Neither was “Kills,” but that was at least a slasher. “Ends” is barely a slasher.
(SPOILERS FOLLOW.)
A new babysitter
“Ends” begins by introducing good-hearted 21-year-old babysitter Corey (Rohan Campbell) at the first Halloween after the events of “H40” and “Kills.” Rather than the cold-open victim (albeit gender-swapped) we expect him to be, he ends up being the main character!
I can’t say I embraced this whole-heartedly as I watched the film, but I accept it as I reflect on it. Campbell is quite good, transforming himself throughout the performance, reminiscent of Joaquin Phoenix.
Harassed by underage Class of 2024 bullies who accuse him of killing his babysitting charge (the death was an accident), Corey is like a character from a Bruce Springsteen song from “Nebraska.” Corey wants to leave Haddonfield, maybe commit various crimes, but generally be left alone. Except for the company of Laurie’s granddaughter Allyson (Andi Matichak).
The granddaughter’s turn
Feeling some small-town ennui herself, and stuck working as an assistant for a doctor who manages to be both dismissive and a sexual harasser, Allyson wants to go with Corey. Matichak came into her own in “Kills” and continues to be compelling. But Green (writing with three others) blunts the edge by having Allyson merely be sympathetic to an unhinged person. She’s not herself the unhinged person.
“Ends” tiptoes into what “Halloween 5” was originally supposed to be, based on the shock ending of “Halloween 4”: a story of Laurie’s niece Jamie copycatting Michael. The filmmakers decided a little girl as a serial killer would be too much. Here, they perhaps toyed with Allyson as a copycat and settled on the compromise of Corey.
The bullies, a Norma Bates-esque mom and the whispering townspeople drive Corey’s turn. But Michael is the inspiration – it’s not to the point that Green forgot to put Michael Myers in his “Halloween” film.
Still, Michael is absent for shockingly long stretches. If Curtis’ limited screen time is because of a behind-the-scenes pact, Michael’s is for story reasons. He’s like a magic talisman rather than a character. Corey finds him in a cave amid the especially ratty part of Haddonfield where homeless folks hang out, looks into his eyes and gains understanding.
(By going to Michael’s disgusting living quarters, “Ends” recalls “Halloween: Resurrection” – another entry people disliked for drifting from the core definition of a “Halloween” film.)
(END OF SPOILERS.)
Deliciously pulpy style
“Ends” is a purposely pulpy exercise, reminding me of Stephen King adaptations. Although it is set in present day, the late Seventies/early Eighties vibe is strong. This comes in part because Michael is timeless; he has aged 44 years since we met him, but he hasn’t changed. The throwback mood is helped by the gauzy cinematography by Michael Simmonds, with Georgia now serving as Haddonfield’s stand-in.
It also comes from the rich, gorgeous score by “Halloween” originator John Carpenter. He has done amazing work in 2022; see also his score for “Firestarter,” another film that generally was not what people wanted. He pumps up his original “Halloween” track with more layers.
Green and company pump up the original “Halloween” story with more layers while not abandoning the foundation. Laurie might have limited screentime, but – in writing a book about her encounters with Michael – she’s engaged with figuring out the meaning of Michael, just like the film.
I get a sense from scrolling through Facebook (quickly, to avoid spoilers) that many people don’t like this. I can see their point. But we now have 13 “Halloween” films, and Green already did his due diligence with one for the fans.
It’s a surprise that “Halloween Ends” isn’t a purist slasher and that it introduces a whole new main character. But in the end, it’s not a bad surprise.