Shadows on the Wall | Halloween Ends

Halloween Ends

dir David Gordon Green
scr Paul Brad Logan, Chris Bernier, Danny McBride, David Gordon Green
prd Malek Akkad, Jason Blum, Bill Block
with Jamie Lee Curtis, Andi Matichak, Rohan Campbell, Will Patton, James Jude Courtney, Marteen, Joey Harris, Destiny Mone, Kyle Richards, Keraun Harris, Candice Rose, Michele Dawson
release US/UK 14.Oct.22
22/US Universal 1h51

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Having ignored every Halloween movie since 1981, I decided to give this one a go, simply because Jamie Lee Curtis is in what purports to be the final film in the series (we've heard that before). Surprisingly, 40 years of these movies prove unnecessary for watching this startlingly hyper-grisly thriller. The film is never very scary, but it's so visceral that it hits the audience in the gut.

Four years after her last run-in with Michael Myers, Laurie (Curtis) is writing her memoir and still living in Haddonfield, now with her granddaughter Allyson (Matichak) for company. Putting the story into words is helping to put her past behind her. Then teen Corey (Campbell), who was recently involved in a tragedy, begins to show interest in Allyson, and Laurie thinks she recognises a killer in his eyes. Indeed, Corey has had an encounter with Myers (Courtney), and is now determined to get revenge against the bullies who have been tormenting him, including his parents.

Every single person in this movie is on the edge of sanity, so tightly wound that they threaten to explode every few minutes in a torrent of angry shouting. Or some murderous stabbing. But Green maintains this heightened tone with tongue firmly in cheek, also having fun referencing the entire franchise while excavating the characters for deep-seated emotional wounds. This arch sensibility makes most scenes feel rather camp, so the most frequent reaction from the audience is nervous laughter.

Curtis cuts loose as Laurie, a granny who has been taunted by this monster for four decades and is simply not to take any more of this nonsense. She has a fierce and fabulous presence. Her protective attitude toward Allyson is almost primal, and Matichak gives Allyson a terrific flair of single-minded independence that could either cost her life or save her. Meanwhile, Campbell has the most expressive role as a cute guy who might be possessed by pure evil. Or something.

The screenwriters carefully weave jagged comedy into the intensely brooding nastiness, offering a counterpoint to the enjoyably hyperbolic gore. Although the plot is so carefully structured that there's no space left for suspense, and the only scary moments are loud noises or eerie apparitions. Still, the way they wrap up the story feels refreshingly organic for a movie like this, preferring an outrageously feisty battle in a kitchen over a boring junkyard climax. Although of course there's one of those too.

themes, language, violence 13.Oct.22

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