Halloween Ends 4K 2022 Ultra HD 2160p

The final confrontation between Laurie Strode (Jamie Lee Curtis) and the maniac Michael Myers.

Halloween Ends 4K Review
Four years have passed since the events of "Halloween Kills. Laurie Strode (Jamie Lee Curtis) and her granddaughter Allison Nelson (Andy Matichak) have recovered from the death of their daughter and mother Karen (Judy Greer). They're trying to make a fresh start -- without the constant fear of Michael Myers. The women move into a cozy house, hide their guns in the basement, and even establish a personal life. Lonely Allison falls in love with Corey Cunningham (Rohan Campbell), the guy who accidentally killed a child and became the main object of hatred for the townspeople after the masked maniac disappeared. But Myers doesn't doze off: As the calendar flips to October 31, blood, murder, and horror will once again descend on the small town of Haddonfield in a purple wave. Only this time is sure to be the last. At least, that's what the film's title promises.

David Gordon Green's rough but curious trilogy comes to an end. The director of stand-up comedies with James Franco and gentle festival dramas ("Lord of the Markings") has brought black humor and - unexpectedly - unorthodox musings on the nature of trauma and fear to the John Carpenter franchise. Michael Myers has become more than just an irrational evil: he is a monster capable of destroying the hearts and minds of his victims without going out for decades. His main weapon is not a sharpened knife and animal cold-bloodedness, but omnipresence. A masked maniac appears out of nowhere, kills dozens of people and then vanishes into thin air. The element? A metaphor for collective trauma and insanity? Or just an unkillable psychopath? All at once and none of it.

"Halloween Ends" elaborates on the Michael Myers mythology. Now it's evil, not only imprisoned in a single human guise, but also capable of being transmitted almost airborne (a mask won't help here). Even hiding from prying eyes in the sewers, the killer manages to infect the town's residents with madness and stick a knife in their hands. If in the first part David Gordon Green filmed a semi-ironic ode to psychotherapy, then in the final trilogy there is no need for couches and intimate family dialogues: the beast can only be defeated by multiple stabbing and stabbing objects and public execution. The Michael Myers virus is like vampirism: kill the supreme bloodsucker and everyone else will turn to ashes.

It's just a shame that the farewell to the franchise's two legends, Laurie and Michael, came out crumpled, rushing all the way to a spectacular finale. To see one of the most brutal denouements in the series, you have to endure an hour of tabloid melodrama. It's as if Gordon Green is deliberately delaying the meeting between Strode and Myers - because then he'll have to shout out one last "Cut" and leave the franchise forever. The first half of the film is almost devoid of murder, punchy comedy scenes and suspense - it feels like you accidentally looked in the wrong place on your way to the theater and ended up at a slapstick horror parody. The actors and music (thank Carpenter) are the same as before, but the punk fervor has completely evaporated.

As the film meanders slowly towards its long-awaited finale, you see skulls crackling, blood spilling and screaming. Halloween ends, but you desperately want it to continue again, albeit with different characters, writers, and concept. Before leaving the franchise, David Gordon Green made the beautiful gesture of letting Laurie breathe quietly and enjoy the silence without the languid anticipation of Michael Myers. No hint that the monster would return, no promising open-ended ending, a generally unprecedented outcome for recent slasher girls who sooner or later fell into the clutches of a maniac.