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Despite the pathos of Corey providing ample opportunity for a look at how Michael became the way he was, and the previous installment clearly building up to this, as I covered in my analysis of Halloween Kills, the movie does not deign to even briefly broach the subject. Michael Myers' lifelong tendency to return to his childhood home and stare out of Judith's bedroom window? Not only was it never mentioned, but the start of the movie even revealed that his house was demolished! How Michael Myers escaped detection and kept himself fed and alive for 4 years? We're shown that he's been hiding in a walk-in sewer that has rats living in it, and are left to presume both that he's been subsisting on rat flesh, and that Haddonfield's police department is staffed entirely with germaphobes. Most of the revelations about Michael Myers' psyche came from Officer Hawkins in Halloween Kills, who intuited that Michael was a feral six-year-old boy in a man's body, trying desperately to return to his childhood home for reasons unknown.

It, too humiliated Michael Myers by demoting him into a comical and inept shell of his former self in the interests of having a lone woman armed with naught but a kitchen knife being able to realistically take him down, but at least the ending wasn't quite as degrading, and Michael Myers was able to do something beyond mentoring an ungrateful, schizo brat. As a side-note, devoted Halloween fans may have raised an eyebrow over me calling the nurse stabbing scene exquisite, noting that it sounds like a blatant retread to Michael killing Bob in the original movie. That is exactly what it is, but between the terrific OST, how well it was shot, and how utterly unexpected it is (the woman narrowly locks Corey out and starts dialing the police, and we are given no clues that Michael is present with Corey before he suddenly appears and grabs her). The fact that the high-point of the movie was ripped straight from another movie in the series speaks volumes.

Following on the heels of two masterful movies that partially rebooted and wholly reinvograted the Halloween franchise by correcting the flaws of their predecessors and weaving a riveting a new tale for The Shape and Laurie, Halloween Ends proceeds to utterly ignore what came before it and drunkenly drive the franchise into a muddy ditch. Despite being the final entry in a series of sequels to one of the most legendary horror movies of all time, the only horror present in Ends, is the horror of what it has done to Halloween's reputation. It usually takes a major political election for so much goodwill to be built-up and summarily squandered into nothing. This movie is such garbage that I am not even sure where to begin. It completely disregards the plot points and development in the past two movies and utterly side-lines popular characters (including, most unforgivably, The Shape himself), in favour of writing a bizarre psychological horror about a poorly-written brand new character who inexplicably goes insane and turns into a second Michael Myers overnight.  This ᠎po᠎st h​as been created  by GSA　Content  Generat or D emov er᠎si on.

In the midst of the scuffle, Corey stabs the hobo in the chest with his own knife, killing him. He immediately runs home, and barricades himself in the bathroom, overcome with horror over what he just did. His guilt does not seem to last very long, as, before we know it, he lures Allyson's drunken ex-boyfriend into the sewer and kills him with Michael's help. He then teams up with Michael to kill Allyson's perverted elderly boss and his young girlfriend, before turning on Michael, stealing his mask, and going on a rampage across Haddonfield, killing numerous people including his own mother. The idea of Michael Myers making a friend is fascinating and a concept I admittedly squeed over when I first saw it in action, viewing it as an opportunity to finally get a glimpse into the enigmatic Shape's psyche. Lamentably, character development in this movie is as wayward as a drunk person erratically driving on an icy road at night with their headlights off, and the movie awkwardly skips back and forth from one thing to another with no explanation.