The Best Part of Halloween Ends Is That It Ends

Jamie Lee Curtis in the movie “Halloween Ends.”

After 44 years, the saga of Laurie Strode and Michael Myers finally concludes—or we’re supposed to believe it does, anyway, with Halloween Ends.

“Halloween Ends” has the feeling of dour obligation, and it’s clear that no one’s heart is really in this anymore, the limits of narrative possibility in Haddonfield stretched beyond their max.

There’s also a half-baked exploration of the ways bullying and name-calling can result in a self-fulfilling prophecy that in “Halloween Ends” acts as a sort of vampirism, or even a death curse trope

“Halloween Ends” returns to where it all began, with a twist.

We come to these movies for the thrills, the chills, and the screams, yet even the kills in “Halloween Ends” feel perfunctory at best.

Halloween Ends’ Is Surprising, Satisfying Epilogue To Michael Myers Saga

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