Burl reviews Halloween Ends! (2022)

 

Ha ha and pumpkin guts, it’s Burl, here with a seasonally appropriate review for you! In Octobers past I’ve taken a look at the new version of Halloween from 2018, and its sequel, Halloween Kills, which came along a few years later! And now that the air is crisp again and the leaves are swirling through the air, landing crunchy and brown ‘neath the skeletal branches and grey clouds heavy with the coming snows, I’ve caught up with the third in this tributary of Myersania: the maligned Halloween Ends!

 

In part it’s maligned because it fails to provide exactly what a fan of these films expects and wants, which is to say many repetitive scenes of Michael Myers stalking and killing the people of Haddonfield! It shares this fake-out quality with an earlier production, Halloween III: Season of the Witch, and, to demonstrate its own self-awareness, and also perhaps a bit of wishfulness concerning its legacy, it also shares the opening title font, if not the computerized pumpkin imagery, with that now-celebrated picture! Ha ha, I must say, I was heartened when I espied that italicized, powder-blue lettering!

 

Though this series takes the position that none of the Halloween stories exist except the one told in the original 1978 Halloween, the second picture of the new cycle shares with Halloween II the aspect of taking up exactly where its predecessor left off, and now with Halloween Ends, although instead of telling a loopy story of warlocks and killer robots in a completely different town we’re still in Haddonfield, but a break from the contiguity of the first two is still indicated, because it’s four years after the events depicted in those photoplays! The effective opening scene, set in 2018 like the first two films, introduces us to Corey Creekmuir, a hapless and nerdy babysitter whose ill-fated charge turns out to be a bit of a jerk! This leads to a plummet-related tragedy for which Corey Creekmuir is blamed!

 

Then it’s four years later and Corey Creekmuir is a skulking pariah who is given the hairy eyeball by Haddonfielders and is outright hassled by the local marching band jerks! Meanwhile our favourite donkey girlscout, Laurie Strode, who in the earlier films was a wild-eyed survivalist hiding out in a trap-filled shanty, is now, unaccountably, an apron-wearing, pie-baking granny living in a normal house and writing what sounds like a preachy and unreadable memoir about her experiences with Michael Myers! Her granddaughter is now a nurse with her own set of problems, which Laurie tries to help assuage by introducing her to Corey Creekmuir! There follows a wildly improbable romance, during which time Corey Creekmuir also discovers Michael Myers hiding in a sewer and begins to fall under his baneful influence!

 

So for a while it’s sort of a romance movie and a buddy picture, and then it morphs into a revenge story with Corey Creekmuir using first Michael and then later just his mask and kitchen knife to exact rote revenge against his various enemies! Concurrently to all this there’s been a steady stream of tributes to John Carpenter, and not just to the Halloween-related works either! Corey Creekmuir watches Carpenter’s The Thing at his babysitting gig early in the film (just as Laurie watched the Howard Hawks version in Halloween); there’s a radio station as we saw in The Fog; and Corey Creekmuir works at a junkyard which strongly recalls the wrecker’s yard in Christine!

 

And that’s when we realize that this picture is not a remake of Halloween or even Halloween III, but of Christine! Corey Creekmuir shares much with Arnie from that 1983 release: a surname; an initial cringing nerdishness; Buddy Holly glasses which are broken by bullies, and whose absence signposts the character’s gradual de-nerdification; a cartoonishly angry and overbearing mother; a facility with automobile repair and a large industrial facility in which to practice it; a doomed romance with someone way out of his league; and a willingness to fall under the spell of an evil force in order to exact his revenge, at the eventual cost of his life! Once that finally occurs the movie can get back to half-heartedly portraying Michael Myers as a vaguely dangerous slasher with an unexplained grudge against Laurie Strode - or is it the other way around, ha ha!

 

The picture retains the impression set in the previous two films of Haddonfield as an infinite series of neighbourhoods, an endless, physics-defying expanse of landscape urbanism easily containing all the people, services, streets, overpasses, sewer systems, hovels, mansions and everything else the story may require! The performances from the veteran actors are good: Jamie Lee Curtis, whom we know so well from Grandview U.S.A., once again demonstrates her commitment to the character of Laurie, and Will Patton, famed from The Puppet Masters, once again plays Officer Hawkins, and here very touchingly so as he shyly woos Laurie!

 

I was pleased to see the picture try something different, but I was never sold that this was the best route to take, nor that Corey Creekmuir was the best candidate to take it with! Even more than ever, the movie is dramatically powered by human behavior that ranges from unlikely to downright bizarre; and though the conceit is that their years of fearing Michael Myers has driven everyone in town slightly bonkers (though, strangely, it has never diminished their enthusiasm for Halloween parties and costumes), this just results in a movie that offers no one with whom it is possible to latch on to as a surrogate or narrative helpmate! There are some effective scenes, but too many others that feel as though they were not so much directed as merely gotten over with! I’m glad they went in a weird direction, but I wish it was weirder - ha ha, some killer robots would have hit the spot! I give Halloween Ends two tongue-skipping records!