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Out of a flurry of gnarly kills and badass Jamie Lee Curtis-isms, now that it's been told in its entirety, what feels the most revolutionary about David Gordon Green's 'Halloween' trilogy is that it actually ends the story it tells. Bloated though it may be, unlike most of its slasher franchise brethren, Michael Meyers' saga for once has a finality that, bumpy as the road to it has been, provides welcome closure.
'Halloween Ends' is going to divide fans of Haddonfield's horror story. Unlike the near parody of 'Halloween Kills', this chapter takes risks that feel, appropriately, like extensions of both the sober opening chapter and its loony sequel. A lot of focus is given to its characters and some of it, even as absurd as its plot machinations are, surprisingly works. But the absence of the simple, vicious brutality of its killer is often felt and it's inevitable that some people will take issue with it. I, for one, didn't because, for once, it felt like I was watching the evolution, misshapen as it may be, of what came before it.
In many ways, this film feels like a coda for Meyers. Unnecessary and unoriginal though it may be, this is a very watchable, if clumsily written, closer with enough sparks of life to wrap things up in a much less silly way than you'd expect. It IS still silly, of course. This is the story of a forty-year old blood feud between a traumatized survivor of violence and an unkillable mask aficionado with super-strength, after all. But as wacky as it may be, its also the rare case of a movie that, finally, FINALLY turns the lights off and leaves its bloody mask on the table.
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