In Green’s world, evil can be contagious. All it takes is the magical touch of a monster to get an impressive young man to become Gilligan for his Skipper. In “Ends,” the tormented Corey, a friend of Haddonfield, years after he accidentally caused the death of a child he was babysitting. He couldn’t show his face to the local watering hole, lest the dead child’s mother would publicly shame him. He was recognized and assaulted by the tiniest band kids ever seen in a killer movie. His mother (Joanne Baron) is an oppressor of feminism and his father is paralysed. In this state, Corey meets Boogeyman, and he is nearly killed for it.
When he clasped Michael’s scarred hand over his throat, Corey would undergo psychological and seismic changes. A series of violent images erupted within him, a rapid transformation of pain and suffering suggesting that Michael had tagged him and now that he was it, “it” was the threat. next town. Not the property – “Jason Goes To Hell” squeezes that concept out – but an amplifier. Whether Myers unleashes the latent darkness within Corey or is he simply captured after years of being a local pariah is one of the questions Green navigates in “The End”.
Michael sensed something in the boy and released him and after that, anyone who got past Corey met a terrible end. Screwdrivers, soldering irons, wrenches, and different types of musical instruments are used in a variety of ways, all with the same purpose of getting retribution. From the moment Michael touched him, stabbing the attacker with frenzied hesitation and shock, repeatedly hurling a cork at his girlfriend’s boss wasn’t a long way off. The effect is swift and intense, while echoing previous types of convertible villains in one of the franchise’s most polarizing (now scrapped) timelines.
https://www.slashfilm.com/1062824/halloween-ends-is-like-an-update-of-the-thorn-trilogy/ Halloween ends like a Thorn trilogy update