HalloweenEnds Review: Is David Gordon Green trolling us?
Screenwriters Paul Brad Logan, Chris Bernier, Danny McBride and Green pull a playful switch on expectations with a promising pre-titles sequence. While the nutshell of Green’s franchise resurrection has always been the trauma inflicted by the Haddonfield murders on three generations of Strode women, the new movie opens on Halloween Night 2019 with an intriguing detour.
Corey is cleared of charges in the ensuing tragedy, but a few years later he’s become a town pariah, a freak regarded no less suspiciously than Laurie, who’s blamed by many for luring Michael back there for a fresh killing spree.
Laurie also is anxious to help Allyson put her mother’s loss behind her and rebuild her life, more or less setting her up with Corey after she steps in while he’s being harassed by a group of teen jerks. Sure, Curtis is always compelling, with quick flashes from earlier installments going back to 1978 serving as a tribute to her history in the role. Horror fans might enjoy homages to other films from the Carpenter canon, like, and it’s fun to hear those eerie notes of Carpenter’s iconic synth theme whenever they creep into the score written by the maestro with his son Cody Carpenter and Daniel Davies. But this is a sloppy movie whose principal new inspiration feels bogus.
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