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Few franchises have maintained their grip on pop culture like “Halloween.” Since the original film terrified audiences in 1978, the series has had 12 sequels, five production studios, three reboots, and nine different directors auditions.
The series spans more than six centuries and has gone through all kinds of drastic changes and returns when it comes to John Carpenter’s original films. While the various ups and downs of “Halloween” are fascinating in their own right, the latest film, “Halloween Ends,” is arguably the most exciting the franchise has ever seen. “Halloween Ends” is the first time the series has made it clear that this is the final film, and the first time any sequels are planned ahead of time.
Often, sequels rely entirely on the success of the previous one, causing them to often feel disconnected or with huge gaps between films. The longest gap between Rob Zombie’s 2009 film “Halloween II” and David Gordon Green’s 2018 film “Halloween” was nine years.
But by far, David Gordon Green has been the most ambitious director/writer of the series since its inception. His first film in the series was 2018’s “Halloween,” which was unique in that it ignored all previous sequels except the original. It was a hugely successful film, the highest-grossing film, and one of the first to ignite the “legacy sequel” craze, in which a long-running franchise was rebooted but kept the charisma of its original film. Legends, usually contain a lot of fan service and reverence for them.
Following the success of 2018’s “Halloween”, Green’s two more sequels, “Halloween Killing” and “Halloween End,” have been given the green light. This has fans wondering what the plan for the trilogy is and whether it will actually “end” or just go ahead with a sequel, as the franchise has always had.
A pandemic, and four years later, we’ve reached the “end of Halloween.” The film, which opens on October 14 with huge expectations, is tasked with bringing to an end a story that has unfolded for more than 40 years. Jamie Lee Curtis reprises her role as Laurie Strode in her most iconic role to date. The film is the end of her story with Michael Myers.
The film has been largely divided since its release. It has a remarkably subversive approach, as an ending, and even as a “Halloween” movie. The film chose to follow a new character, Corey Cunningham, instead of the expected Laurie Strode and Michael Myers. Still, the characters survived and got the ending they promised.
The surprising footage left many viewers uneasy about the choice, feeling cheated or deceived. But that’s a far cry from the authenticity of the film’s intent. The way the trilogy is viewed is that 2018’s “Halloween” is a Lowry movie, “Halloween Killing” is a Michael Myers movie, and “Halloween’s Over” is a Haddonfield movie. Haddonfield, Illinois was the filming location for the film.
All three are key components of the original film and nearly every sequel. They are both very important to the plot of the film itself and the themes of the trilogy. “Halloween’s Over” forces viewers to really think about what the series really is about, rather than simple fan service that caters to one last hurrah.
Corey Cunningham, played by breakout star Rohan Campbell, acts as a vessel for the evil lurking in Haddonfield, providing insight and commentary on what collective trauma within the community can do. “Halloween’s Over” is by far the most introspective film in the franchise, choosing a broad range of ideas and questions rather than the specific answers some fans expect.
While this aspect frustrates many, it’s completely true to what made the original 1978 film a success, and why it still works today. “Halloween” has always been about things audiences don’t know. The more we learn about Michael, the less scary he is; the more you learn about evil, the more evil it looks. Ambiguity and the unknown are at the heart of the series.
While Green’s trilogy does delve into many aspects of the series that haven’t been explored before, the team behind the film has always made sure to follow the line very carefully. In countless other ways, this makes the trilogy the closest to any sequel to the original and expands on it, rather than a run on it.
Aside from its subversive plot and complex themes, Halloween’s Over is still a very satisfying and entertaining hack and slash/horror movie. The performances were excellent in every way, especially Curtis and Campbell. Carpenter himself has another stunning moody synth soundtrack, as well as scary and creepy special effects that will surprise even genre veterans, as well as the signature fall Illinois vibe that the series has established.
“Halloween Ends” is not the movie I or frankly anyone expected. Personally, I was pleasantly surprised and ecstatic about the direction it took, trying something really fresh and fresh for the series, working as a film standalone rather than the one-off fans that many similar sequels have fallen into Serve.
David Gordon Green and his team have produced a consistently excellent trilogy and what “Halloween” fans have been craving for years, with true craftsmanship and care. “Halloween’s Over” challenges its audience, but also unsurprisingly exposes its fans and the rights of fan culture, which in my opinion needs to happen more often if we’re going to change the state of filmmaking today. a situation.
Rating: 8/10
Reporter Zaden Dennis is available at [email protected] You can find his other reviews at letterboxd.com/Zadenator.
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