David Gordon Green
Halloween Kills

The second chapter of the new and, hopefully, definitive trilogy dedicated to the boogeyman Michael Myers.

I have already discussed the first chapter from 2018 and why I consider it a high-level film. This sequel delves deeper into the central aspect of the mythology surrounding Myers: the conceptual and metaphysical nature of his figure.

If the previous film raised the question of how a single figure, however evil, could represent a threat and a terror even in modern times, in this new chapter, all of this simply no longer makes sense, as Myers remains the very embodiment of the concept of terror and death. And thus, he is not subject to the laws of time, of passing epochs, or of physics.

Pure evil, the agent of chaos, an angel of death, an unbeatable and unyielding demon, impossible to kill, the endless horror that eternally returns.

A concept, an idea, the living representation of an Evil that infects, annihilates until it dehumanizes and destroys everything it comes into contact with.

As for brutality, the killings do not disappoint fans of the hardest slasher genre, though they do not excessively push into voyeurism or blood pornography.

The film continues more than worthily the reboot of the saga entrusted to the versatile talent of David Gordon Green, and although I personally still prefer the first chapter from 2018, this one also ultimately leaves viewers satisfied. It is a film overall darker and more violent than the previous one, everything taking place in one night works perfectly, and in the end, it casts a gaze upon the spectator. One must reflect and look at oneself, through the mirror of the iconic Myers house window, one of those symbols that transcend time and space. The Myers house thus becomes the universal center of horror and unmotivated, inexplicable, unfathomable Evil, which therefore can never be defeated. It is a more theoretical but also more didactic film, if one wishes to critique it, which nevertheless does not mar the excellent craftsmanship of the overall work.

Awaiting the final chapter, Halloween Ends, scheduled for next year. Granted that it is possible to imagine a world freed from Michael, one of those icons that, in all likelihood, will never cease to populate cinema and the unconscious.