Halloween Ends: A Chaotic Clash of Trauma and Terror

The sewers of Haddonfield, grimy and reeking of stagnant water, serve as the eerie backdrop to Halloween Ends, David Gordon Green’s concluding chapter to his trilogy that sought to reinvigorate the iconic horror franchise. The camera lingers on Corey Cunningham (Rohan Campbell), a young man already branded an outcast, stumbling through the darkness—a fitting metaphor for the film itself, which struggles to find its way in the labyrinth of its own ambition.

Halloween Ends arrives four years after the events of Halloween Kills, with Laurie Strode (Jamie Lee Curtis) attempting to liberate herself from a lifetime of fear and rage. The film’s central premise is simple: a cascade of violence ignites when Corey, accused of killing a boy he was babysitting, crosses paths with Michael Myers (James Jude Courtney). What follows is a messy blend of character study, social commentary, and slasher tropes, resulting in a film that oscillates between moments of genuine tension and frustrating missteps.

At its core, Halloween Ends is a film about trauma and redemption. Laurie Strode, now writing a memoir, represents the quintessential final girl trying to reclaim her life after decades of terror. Jamie Lee Curtis delivers a performance that is both vulnerable and resilient, capturing the essence of a woman haunted by her past but determined to move forward. Her scenes are among the film’s strongest, particularly when she confronts the lingering presence of Michael Myers. The quiet moments between Laurie and her granddaughter Allyson (Andi Matichak) also resonate, offering glimpses of hope amidst the chaos.

However, the film’s focus on Corey Cunningham introduces a narrative thread that feels disjointed and underdeveloped. Rohan Campbell is saddled with the task of playing a character whose arc is rushed and ultimately unconvincing. The film attempts to explore themes of societal ostracization and the cyclical nature of violence through Corey’s story, but these ideas are often mishandled. His transformation from a sympathetic outcast to a killer lacks the nuance needed to make it believable, resulting in a character arc that feels forced rather than earned.

The film’s attempt to blend social commentary with horror is commendable but ultimately falls short. The way Corey’s story mirrors real-life discussions about people with repugnant beliefs being held accountable feels heavy-handed and preachy. These themes are intertwined with the horror elements in a manner that often distracts from rather than enhances the narrative. The film’s pacing also suffers, with subplots involving Corey’s relationship with Allyson and his run-ins with bullies feeling unnecessary and detracting from the central conflict.

Where Halloween Ends excels is in its cinematography and sound design. The sewer scenes are particularly effective, using tight spaces and eerie lighting to create a sense of claustrophobic dread. John Carpenter’s score, while not as iconic as his original work, complements the film’s tension well. These elements help to build moments of genuine suspense, but they cannot save the film from its structural flaws.

The final confrontation between Laurie and Michael Myers is a case in point. It lacks the weight and emotional resonance that such a climactic showdown should carry. The film’s attempt to provide catharsis for long-time fans of the franchise falls flat, ultimately feeling rushed and unsatisfying. This is particularly disappointing given the high stakes and the rich history of the character.

Halloween Ends is a film that wants to be many things at once—a character study, a social commentary, and a slasher flick—but it ultimately fails to fully realize any of them. The performances by Jamie Lee Curtis and Andi Matichak are strong, but they are undermined by a narrative that feels cluttered and directionless. The film’s attempt to explore complex themes is admirable, but it is executed with varying degrees of success.

In the end, Halloween Ends is a disappointing conclusion to David Gordon Green’s trilogy. It is a film that struggles to find its footing, oscillating between moments of genuine tension and frustrating missteps.