A Haunting Conclusion: Analyzing 'Get Back' as a Finale for 'Halloween Kills'

The final moments of any horror film are often the most pivotal, leaving audiences both gasping in shock and yearning for more. The conclusion of David Gordon Green's 2020 sequel 'Halloween Kills' is no exception, culminating with an unsettling yet fittingly atmospheric ending that expertly sets the stage for its highly anticipated follow-up.

While much attention has been lavished on the film's graphic gore effects and thrilling scares, often overlooked in these discussions are the crucial roles played by soundtracks and their closing tracks. In 'Halloween Kills,' it is none other than 'Get Back' - a haunting yet evocative piece of music penned by John Carpenter (the mastermind behind Halloween's iconic theme) alongside his longtime collaborator, Alan Howarth.

Released as part of the film's original soundtrack, 'Get Back' not only serves as an apt sonic accompaniment to the chaos unfolding on screen but also doubles up as a fitting tribute to horror movie tropes that have become synonymous with Michael Myers' storied history. Its pulsating beats and ominous undertones perfectly capture both the sense of foreboding hanging over Laurie Strode (played once again by Jamie Lee Curtis) and her band of survivors, while simultaneously evoking memories of classic slasher flicks from yesteryear.

However, beyond its role as simply another chilling addition to 'Halloween Kills' soundtracking legacy lies something far more complex at play. 'Get Back' can be seen less as an ending unto itself but rather as a cleverly crafted bridge - one that expertly links together the events of both 'Halloween II' and 'Halloween III: Season of the Witch,' thereby establishing a sense of narrative continuity across all three installments within this particular rebooted trilogy.

Furthermore, by casting 'Get Back' in such an integral role throughout its runtime, director David Gordon Green masterfully subverts audience expectations. What begins as seemingly innocuous background noise gradually swells into something far more sinister - mirroring perfectly the slow-burning tension that characterizes much of 'Halloween Kills' itself.

Ultimately though, it is through 'Get Back' alone that we truly understand just how deftly Green has managed to craft a conclusion so both haunting and yet ultimately cathartic. It serves as an apt metaphor for Laurie Strode's own journey throughout this entire trilogy - one marked by trauma, loss, but above all else: redemption.

In conclusion then, 'Get Back' stands not only as the perfect ending song for 'Halloween Kills' itself but also represents something much larger still; a powerful testament to both Carpenter and Howarth’s continued ability to craft timeless horror soundscapes that continue to captivate audiences across generations.

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