Review: ‘Halloween Ends,’ starring Jamie Lee Curtis, Andi Matichak, James Jude Courtney, Will Patton, Rohan Campbell and Kyle Richards

October 15, 2022

by Carla Hay

Jamie Lee Curtis and Michael Myers, also known as The Shape (played by James Jude Courtney), in “Halloween Ends” (Photo by Ryan Green/Universal Pictures)

“Halloween Ends”

Directed by David Gordon Green

Culture Representation: Taking place in 2019 and 2022, in the fictional Haddonfield, Illinois, the horror flick “Halloween Ends” has a predominantly white cast of characters (with a few African Americans) representing the working-class and middle-class.

Culture Clash: Serial killer Michael Myers is on the loose again and will murder anyone who gets in his way.

Culture Audience: “Halloween Ends” will appeal primarily to people who are fans of the “Halloween” movie franchise and star Jamie Lee Curtis, but anyone who sees this movie should brace themselves for a disappointing bore that fails in suspense and storytelling.

Andi Matichak and Rohan Campbell in “Halloween Ends” (Photo by Ryan Green/Universal Pictures)

There’s no other way to put it: “Halloween Ends” is a cesspool of bad filmmaking decisions. By now, most horror fans know that the “Halloween” move franchise (which began with 1978’s “Halloween,” directed by John Carpenter) follows the seemingly endless saga of masked serial killer Michael Myers (also known as The Shape), who somehow manages to survive after being shot, stabbed, beaten, and set on fire. Because indestructible Michael Myers has unrealistically escaped death so many times, the “Halloween” franchise now implies that he’s not completely human and there’s something supernatural about him.

In the first “Halloween” movie, Laurie Strode (played by Jamie Lee Curtis), who was a high school student at the time, was a survivor of his Halloween night massacre in the fictional Haddonfield, Illinois. Laurie and some of her teenage peers were babysitting on that deadly night. The Laurie Strode character has appeared off and on in “Halloween” movies ever since, with all reboots and sequels failing to live up to the groundbreaking and terrifying original “Halloween” movie.

“Halloween Ends” has been described as the third movie in a “Halloween” trilogy directed by David Gordon Green, beginning with the 2018 “Halloween” reboot and continuing wth 2021’s “Halloween Kills.” The 2018 reboot of “Halloween” was good enough to show there was potential to restore the “Halloween” franchise back to being critically acclaimed horror instead of the mindless schlockfest that the franchise turned out to be. “Halloween Kills” foreshadowed that the quality of the franchise was sliding back into idiotic territory. “Halloween Ends” is the proverbial nail in the coffin that solidifies the unfortunate pattern of filmmakers ruining the “Halloween” franchise with mind-numbing and silly stories.

“Halloween Ends” was written by Green, Paul Brad Logan, Chris Bernier and Danny McBride. (It’s usually not a good sign when a movie has at least four credited screenwriters, because the screenplay usually ends up having “too many cooks in the kitchen” syndrome.) How bad is “Halloween Ends”? Michael Myers’ killing spree doesn’t begin until nearly one hour into this horrific misfire. There’s not enough Laurie Strode and too much of a dull romance between Laurie’s granddaughter and an accused killer.

The movie begins on Halloween night in Haddonfield in 2019. A 21-year-old college student named Corey Cunningham (played by Rohan Campbell) has been hired to babysit a boy named Jeremy Allen (played by Jaxon Goldenberg), who’s about 9 or 10 years old. Jeremy’s parents (played by Candice Rose and Jack William Marshall), who don’t have first names in the movie, are going out for the night to a Halloween costume party. Corey is nerdy and socially awkward, but he’s also very responsible and has plans to go to graduate school.

Before the parents leave for the party, Mrs. Allen tells Corey that ever since the Michael Myers massacre that took place during Halloween the previous year (as shown in “Halloween Kills”), Jeremy has been very fearful, he’s been wetting his bed, and he’s been hearing voices. Corey tells her that’s a normal reaction that a lot of kids would have. What Corey also finds out is that Jeremy is a little bit of a spoiled brat who likes to get his own way.

Jeremy insists on watching a horror movie on TV with Corey. When the violence in the horror movie gets too intense, Corey decides that they should stop watching the horror movie, which he thinks isn’t appropriate viewing for a child of Jeremy’s age. Jeremy wants to keep watching the horror movie though and says he’s not afraid of the horror movie or Michael Myers.

Jeremy smirks to Corey: “Michael Myers kills babysitters, not kids.” (Apparently, Jeremy never heard what Michael Myers did in 2018’s “Halloween,” where a pre-teen child became a Michael Myers murder victim.) Jeremy puts up a little bit of fuss for Corey telling Jeremy what they can and can’t watch on TV.

The next thing Corey knows, Jeremy goes missing in the house, but Corey can hear Jeremy’s voice taunting him and laughing at him in the distance. Some sloppy film editing then shows Corey locked in an upstairs closet by Jeremy, who is standing nearby in the hallway but who refuses Corey’s demands to unlock the closet door. Corey kicks his way out of the closet with such force, it knocks Jeremy over the stairwell, with Jeremy falling to an instant death on the floor of the house’s foyer.

And what a coincidence: Jeremy’s parents come home just seconds after Jeremy’s fatal fall. When they open the front door, Jeremy’s bloodied and broken body is right in front of them. Jeremy’s mother wails and screams at this gruesome sight. Jeremy’s parents immediately think that Corey killed Jeremy on purpose. A panicked and remorseful Corey is arrested and proclaims that Jeremy’s death was an accident.

“Halloween Ends” then flashes forward to 2022. Laurie now owns a house in Haddonfield, where she lives with her granddaughter Allyson (played by Andi Matichak), who is Laurie’s only grandchild. “Halloween Kills” showed what happened to Allyson’s divorced mother Karen (played by Judy Greer), who was Laurie’s only child. What happened to Karen is also mentioned at the beginning of “Halloween Ends.” Laurie, who is now apparently working on a memoir, is shown in various “Halloween Ends” scenes typing on her laptop computer and reading parts of her memoir in ominous voiceovers.

Laurie says that that she bought the house as “a place to live with love and trust—not a trap, not a place to hide.” Allyson, who is in her mid-20s, works as a nurse at a local hospital. Laurie seems to be at peace with her past and is no longer hiding from Michael Myers. But there would be no “Halloween Ends” movie if Michael Myers (played by James Jude Courtney) were completely out of of Laurie’s life. It’s later revealed in “Halloween Ends” where Michael has been hiding in Haddonfield.

Meanwhile, Corey has had a rough time in Haddonfield because he’s a social outcast who is still thought of as a child killer by many members of the community. Although it’s not shown in the movie, it’s mentioned that Corey went on trial for Jeremy’s death and was found not guilty. Corey’s reputation was ruined anyway.

Corey currently lives with his parents and works as a mechanic in his father’s mechanic shop. Corey’s father Ronald (played by Rick Moose) is easygoing and compassionate, while Corey’s mother Joan (played by Joanne Baron) is domineering and impatient. Both parents firmly believe in Corey’s innocence.

One day, Corey is standing outside a local convenience store, when four teenagers approach him to ask him to buy them some beer. The names of the teenagers are Terry (played by Michael Barbieri), Stacy (played by Destiny Mone), Billy (played by Marteen) and Margo (played by Joey Harris). Terry is the leader of these teenage troublemakers.

When Corey declines the teens’ request to buy alcohol for them, they begin to insult Corey by calling him names such as “psycho babysitter.” Laurie happens to arrive outside and sees this bullying. The teens then begin to taunt Corey and Laurie, by calling them “the psycho and the freak show.”

Corey is holding a glass bottle of chocolate milk, and he gets so angry that he squeezes the glass bottle until it breaks, thereby injuring his hand. The teens just laugh and go into the grocery store. Laurie then takes out a knife and asks Corey if he or she should use the knife to slash a tire of the car that the teens used to get there. Corey then takes the knife and does the tire slashing.

Laurie insists that Corey go to the local hospital, where Corey happens to get medical treatment from Allyson. There’s an immediate attraction between Corey and Allyson, but Corey is too shy to act on it. Corey mentions that he’s a mechanic at the local mechanic shop, and he recently got a used motorcylce, given to him by his father. Allyson uses this information as an excuse to visit Corey at his job so that he can give her lessons on how to ride a motorcycle.

And so begins the most tedious part of “Halloween Ends”: the courtship of Corey and Allyson. This limp romance drags down the movie to the point where viewers will be wondering where Michael Myers and Laurie are. The misleading marketing for “Halloween Ends” makes it look like Laurie and Michael Myers are in most of the movie, but “Halloween Ends” actually takes a long and unwelcome detour into Corey’s world.

Allyson’s estranged father happens to be a Haddonfield cop named Officer Mulaney (played by Jesse C. Boyd), who acts like a stalker by showing up in the same places where Allyson is, and complaining that she never contacts him or returns his messages. Allyson is never happy to see him. Needless to say, Officer Mulaney (who has no first name in the movie) disapproves of Allyson dating Corey.

Laurie keeps an open mind about Corey, because she knows what it’s like to be misjudged. Some people in Haddonfield blame Laurie for causing Michael Myers to come back. There’s a scene where a wheelchair-using, mute, middle-aged woman named Sondra (played by Diva Tyler) and Sondra’s sister (played by Leila Wilson) happen to be in the same store parking lot as Laurie. Sondra’s sister angrily confronts Laurie and says that Sondra is “damaged” because of Michael Myers, and the sister berates Laurie for tempting Michael Myers back to Haddonfield.

As the romance between Corey and Allyson begins to blossom, there are hints that Laurie’s love life could also be heating up. In “Halloween Kills,” it was revealed that a Haddonfield cop named Frank Hawkins (played by Will Patton) was a young rookie on duty during the 1978 Halloween night when Michael Myers went on his massacre. Frank, who’s supposed to be about four or five years older than Laurie, has had a crush on Laurie ever since. In “Halloween Kills,” Frank and Laurie ended up in the same hospital room together, where they discovered their mutual attraction to each other.

Frank is still interested in dating Laurie, but she’s been more hesitant about getting into a romantic relationship with anyone. And so, for much of Laurie’s screen time, Frank is sometimes hanging around like a lovesick puppy who wants some sign of affection from Laurie. Is this a romantic drama or a horror movie?

Because “Halloween Ends” veers so far into being a romantic drama for much of the movie’s scenes, the tone of the movie is very disjointed and awkward. “Halloween Kills” character Lindsey Wallace (played by Kyle Richards), a survivor of Michael Myers’ 1978 massacre, returns in “Halloween Ends” as a good friend of Laurie’s. In “Halloween Ends,” Lindsey is a totally useless character who just stands around and looks sympathetic to Laurie. “Halloween Ends” gives Lindsey no character development or further insight into Lindsey’s life. Sheriff Barker (played by Omar J. Dorsey) from “Halloween Kills” also returns for a smaller role in “Halloween Ends.”

“Halloween Ends” has a yammering radio DJ character named Willy the Kid (played by Keraun Harris), from a local radio station called WURG “The Urge,” and his annoying voiceovers pepper some of the scenes with commentary about the legend of Michael Myers. As soon as this radio DJ character’s voice keeps showing up in the movie, you just know that sooner or later, Willy the Kid will be seen in person, and his fate is easily predicted. There’s also an unnamed, elderly homeless man (played by Blaque Fowler) who lives near some abandoned tunnels in Haddonfield. His purpose in the movie is also very obvious.

Because “Halloween Ends” takes so long for Michael Myers to actually appear, some viewers might be wondering during the first half of the movie if this is a “Halloween” movie spinoff, not a “Halloween” movie sequel. Curtis makes an effort to bring some gravitas and emotional resonance to her role. However, the rest of the cast members’ performances in the movie are mediocre and unremarkable. The scenes of Michael Myers on a killing spree have a “been there, done that” formulaic quality that look like tired retreads of previous “Halloween” movies.

Note to filmmakers of future “Halloween” movies: People want to see a “Halloween” movie to have mostly Michael Myers horror scenes, not lukewarm romance scenes that take up too much of the story and look like something from a bland soap opera. That’s why “Halloween Ends” not only fails to live up to the hype but it’s also a horror movie that lacks edge, originality and truly terror-inducing scenes. In other words, “Halloween Ends” is a ripoff and a complete waste of time.

Universal Pictures released “Halloween Ends” in U.S. cinemas and on Peacock on October 14, 2022.

Review: ‘Halloween Kills,’ starring Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Thomas Mann and Anthony Michael Hall

October 16, 2021

by Carla Hay

Judy Greer, Jamie Lee Curtis and Andi Matichak in in “Halloween Kills” (Photo courtesy of Universal Pictures)

“Halloween Kills”

Directed by David Gordon Green

Culture Representation: Taking place in 2018, in the fictional Haddonfield, Illinois, the horror flick “Halloween Kills” has a predominantly white cast of characters (with a few African Americans) representing the working-class and middle-class.

Culture Clash: Serial killer Michael Myers is on the loose again and will murder anyone who gets in his way.

Culture Audience: “Halloween Kills” will appeal primarily to people who are interested in watching horror movies that care more about creating bloody murder scenes than creating any suspense or an interesting story.

Michael Myers (also known as The Shape, pictured at left) in “Halloween Kills” (Photo courtesy of Universal Pictures)

“Halloween Kills” is an apt description for what this boring slog of a horror movie does to further destroy the already damaged “Halloween” franchise. It also commits the unforgivable sin of confining “Halloween” icon Laurie Strode to a hospital for most of the movie. Horror movie aficionados will find nothing scary about this cynical cesspool of lazy filmmaking, because “Halloween Kills” is just a series of gory murders thrown into an incoherent and flimsy plot.

The 2018 “Halloween” movie indicated that Jamie Lee Curtis’ Laurie Strode character (the most famous survivor of mask-wearing serial killer Michael Myers) would return to the franchise as an active hero doing battle against Michael Myers, who is also known as The Shape. The movie also introduced Laurie’s estranged daughter Karen (played by Judy Greer) and Karen’s daughter Allyson (played by Andi Matichak) into the mix, to make this hunt for Michael Myers a multi-generational family mission. At the end of the movie, Laurie and Karen had begun to mend their relationship, with Allyson being somewhat of a bridge between the two.

In “Halloween Kills,” which picks up right after the 2018 “Halloween” movie ended, any expectation that Laurie, Karen and Allyson would join forces is shattered. The three women spend most of the movie apart from each other. And when they are together, they often bicker with each other about who should or shouldn’t go after Michael Myers, who has returned to his hometown of Haddonfield, Illinois, to wreak more havoc on Halloween night. (“Halloween Kills” was actually filmed in North Carolina.) Meanwhile, men dominate in the planning of vigilante mob actions that play out in “Halloween Kills” in the most ludicrous ways.

David Gordon Green directed 2018’s “Halloween” and “Halloween Kills,” and he co-wrote both movies with Danny McBride. Jeff Fradley was the third co-writer of 2018’s “Halloween,” while Scott Teems was the third co-writer of “Halloween Kills.” It’s difficult to know if replacing Fradley with Teems is the reason why the quality of the “Halloween Kills” screenplay took a noticeable descent into moronic hell. The 2018 “Halloween” movie is by no means a classic horror flick, but it’s an exceedingly better film than the dreck of “Halloween Kills.” The director is chiefly responsible for how a movie turns out, so it’s disappointing that Green chose to coast off of the success of his “Halloween” movie and churn out such a formulaic and unimaginative dud with “Halloween Kills.”

Simply put: “Halloween Kills” wallows in the worst stereotypes of awful horror flicks. Characters go into a house alone to try and confront the extremely dangerous killer on the loose. When opportunities come to capture or kill the murderer once and for all, characters stand around talking to (or screaming at) the mute psycho killer Michael Myers, as if they think striking up a one-way conversation with him will suddenly turn him to a reasonable, law-abiding citizen. (In “Halloween Kills,” Michael Myers is portrayed by three actors: James Jude Courtney and Nick Castle in the 2018 scenes and Airon Armstrong in the 1978 scenes.)

And even though this serial killer is murdering people all over town, police officers and ambulances are mysteriously absent for most of the mayhem because almost all the imbecile characters in this movie usually don’t call 911. The nonsensical explanation in the movie is that the vigilante citizens think they can take Michael Myers on their own. Many of them think the Haddonfield police are incompetent. But that still doesn’t explain why the police aren’t showing up in force anyway.

And worst of all for a horror movie: There’s almost no suspense and nothing is truly terrifying. Gruesome? Yes. Scary? No. It’s very easy to predict who will die and who will survive in this movie. There’s also the predictable ending scene of someone who might or might not be dead. (It’s the most obvious way for a horror movie to set up a sequel.) The murders are done in such a monotonously routine way, it would be understandable for viewers to think that Michael Myers is sleepwalking. There is absolutely nothing creatively done in this movie when it comes to the plot, dialogue or action sequences.

“Halloween Kills” also squanders a compelling idea of reuniting many of the characters who survived the Michael Myers massacre that took place in the original 1978 “Halloween” movie. Several characters are introduced as having a meaningful connection to “Halloween” lore, but “Halloween Kills” won’t let viewers get to know these characters in a meaningful way. There are flashbacks in “Halloween Kills” that are ultimately a waste of time.

In one such flashback, which takes place in 1978 during Michael Myers’ first massacre in Haddonfield, viewers see a rookie cop in his 20s named Hawkins (played by Thomas Mann) and his older, more experienced partner Pete McCabe (played by Jim Cummings) on the scene. They are among the first cops to respond to this emergency. It’s enough to say that McCabe doesn’t make it out alive, but Hawkins does. In 2018, Hawkins (played by Will Patton) is still a Haddonfield cop, and he’s been wounded in this latest Michael Myers massacre.

Laurie is also wounded, because Michael stabbed her in the abdomen, as shown in 2018’s “Halloween.” She’s first seen in “Halloween Kills” bleeding profusely and in agony in the back of a truck with Karen and Allyson, as the truck speeds to the nearest hospital. It’s at this hospital that Laurie will stay for most of her screen time in “Halloween Kills.” She’s sidelined into being either being unconscious or, when she wakes up, being a cranky grandmother who thinks she knows best when it comes to who should go after Michael Myers.

And what a coincidence: A wounded Hawkins ends up being in the same hospital room as Laurie. There’s an almost laughable backstory put in “Halloween Kills” that Laurie and Hawkins had a flirtation with each other back in 1978. And so, in the midst of all the madness and mayhem with this latest Michael Myers killing spree, Laurie and Hawkins make goo-goo eyes at each other in their hospital beds, as they reminisce about their “could’ve been” near-miss romance. It’s an example of how off-the-rails this movie is in keeping Laurie mostly out of the action.

Besides Laurie and Hawkins, these are the other Haddonfield survivors from the original 1978 massacre who become targets of Michael Myers in the 2018 massacre:

  • Tommy Doyle (played by Anthony Michael Hall): In 1978, Laurie was babysitting Tommy and his sister on the Halloween night when Michael Myers went on his deadly rampage. Tommy’s sister became one of Michael Myers’ murder victims.
  • Lindsey Wallace (played by Kyle Richards): She was also a kid in 1978, and her babysitter was murdered by Michael Myers that night.
  • Marion Chambers (played by Nancy Stephens): She was the nurse of the late Dr. Loomis (played by Donald Pleasance), the psychiatrist who was treating Michael Myers when Michael escaped from the psychiatric institution on that fateful Halloween in 1978. (Stephens reprises her role that she had in 1978’s “Halloween” movie.)
  • Lonnie Elam (played by Robert Longstreet): When he was 9 or 10 years old, he had a near-miss encounter with Michael Myers on a sidewalk on Halloween night 1978. (Tristian Eggerling portrays Lonnie as a child in a flashback scene.)

“Halloween Kills” also has some other characters who encounter Michael Myers on Halloween night in 2018. Lonnie’s son Cameron Elam (played by Dylan Arnold) happens to be Allyson’s boyfriend. Cameron is also the person who finds a wounded Hawkins on the street. It’s one of the few times that someone in this movie has the common sense to call 911 for help. But that’s not what happens later in the movie when Lonnie, Cameron and Allyson foolishly decide to hunt down Michael Myers on their own.

Married couple Marcus (played by Michael Smallwood) and Vanessa (played by Carmela McNeal), who are dressed in Halloween costumes as a doctor and a nurse, meet Tommy at a local bar and quickly befriend him after he gets up on stage and talks about being a Michael Myers survivor. And there’s a gay couple named Big John (played by Scott MacArthur) and Little John (played by Michael McDonald), who work together in real estate. Big John and Little John happen to live in the house that Michael Myers used to live in before Michael was sent to a psychiatric institution in 1963 for killing his 17-year-old sister Judith when he was 6 years old. What are the odds that Michael will go back to his childhood home when Big John and Little John are there?

Michael Myers was supposed to be in his 20s in 1978, which means that he’s getting too old to have the type of superhuman strength that he has in these “Halloween” movies. He’s also been “killed” in several ways in various “Halloween” movies, but he still keeps coming back. All of that is explained in “Halloween Kills” when Laurie gives an absurdly bad monologue about how she’s come to the conclusion that Michael Myers is not human and he feeds off of people’s fear of him.

The “mob justice” aspect of “Halloween Kills” is idiotic and badly mishandled. Expect to see Tommy shout, “Evil dies tonight!” multiple times, as it becomes a rallying cry for the vigilante crowd. Just by coincidence, two psychiatric patients have escaped that night from a psychiatric institution that held Michael Myers. It’s a plot contrivance that’s set up for a silly “mistaken identity” subplot.

Even though the people of Haddonfield should know by now what Michael Myers’ height and general physical build should be (his body type hasn’t changed since 1978), the crazed vigilantes go after one of these escapees who’s considerably shorter and stockier than Michael Myers. Apparently, for this mob, any old psychiatric hospital escapee will do.

Karen is the only one with an iota of common sense to notice that this escapee doesn’t have Michael Myers’ physical characteristics. As the practical-minded Karen, Greer gives the best performance of this movie’s cast members. However, that’s not saying much because everyone’s acting in “Halloween Kills” is mediocre overall.

Oddly, there’s a lone elderly cop in uniform who gets swept up in the vigilante mob. His allegiances are never really clear. One minute, he seems to want to try to stop the mob madness. The next minute, he seems to be going along with the crowd. He doesn’t ask for backup from his fellow police officers. The only thing that’s clear is that he’s a terrible cop who should be fired and can kiss that pension goodbye.

There are many plot holes in “Halloween” that the filmmakers want to cover up with some cringeworthy dialogue and bloody action sequences. “Halloween Kills” has so much arguing and melodrama in a hospital, viewers will be wondering: “Is this a horror movie or a soap opera?” At one point, Laurie rips out her medical tubes and injects herself in the rear end with a painkiller. If you waited your whole life to see Laurie Strode give herself a butt injection, then “Halloween Kills” is the movie for you.

During one of her hospital rants, Laurie says to Karen about why Michael Myers is still on the loose and what Laurie wants to do about it: “The system failed … Let him come for me! Let him take my head as I take his! … You and Allyson shouldn’t have to keep running because of the darkness I created.”

But wait a minute, Laurie. “Halloween Kills” doesn’t want you to take all the credit for Michael Myers going on a rampage. Hawkins thinks Michael Myers is on this killing spree because of Hawkins. He makes a guilt-ridden confession that doesn’t make any sense at all for why Hawkins would be the reason for Michael Myers’ serial killings. There’s a badly written flashback scene involving a cover-up that wouldn’t be plausible in the real world because of autopsy reports and how bullet trajectories would be investigated.

It’s not as if viewers should expect a terrible horror movie like “Halloween Kills” to be realistic. But the movie just doesn’t offer a horrifying mystery, engaging new characters, or even twist-filled “hunt for the killer” chase scenes. It’s all so predictable, hollow and generic. “Halloween Kills” puts too much emphasis on a mindless and forgettable mob of people while sidelining Laurie Strode, the most memorable and iconic hero of the “Halloween” franchise. That’s the real injustice in “Halloween Kills.”

Universal Pictures released “Halloween Kills” in U.S. cinemas and on Peacock on October 15, 2021.

2019 CinemaCon: What to expect at this year’s event

April 1, 2019

by Carla Hay

CinemaCon

CinemaCon, the annual convention for the National Association of Theatre Owners (NATO), will be held April 1 to April 4, 2019, at Caesars Palace in Las Vegas. About 5,000 people attend the event, which gives movie studios the chance to showcase what they expect to be their biggest hits of the year.

A major change to this year’s event is that Sony Pictures Entertainment and 20th Century Fox will not be giving presentations. Movie studios scheduled to give their presentations at the event are STX Films and Warner Bros. Pictures on April 2; Universal Pictures and Walt Disney Pictures on April 3; and Paramount Pictures and Lionsgate on April 4.

Independent film studio Neon will promote its music-based drama “Wild Rose” with a screening of the movie on April 1 and a “Wild Rose” party on April 2. Other movies that will be screened in their entirety at CinemaCon 2019 will be Warner Bros. Pictures’ “Blinded by the Light” on April 2, Amazon’s “Late Night” on April 3 and Lionsgate’s “Long Shot” on April 4.

CinemaCon culminates with the CinemaCon Big Screen Achievement Awards ceremony, which will take place April 4.

Here are the announced winners of the awards:

CinemaCon Icon Award
Steve Buscemi

Steve Buscemi (Photo by Kristina Bumphrey/Starpix)

One of the most respected actors in the entertainment industry, Emmy-winning “Boardwalk Empire” star Steve Buscemi has played a wide range of characters in movies and television. His most memorable films include 1992’s “Reservoir Dogs,” 1996’s “Fargo” and 2001’s “Ghost World.” He has also voiced several roles in hit animated movies such as 2017’s “The Boss Baby,” and the “Hotel Transylvania” films. Buscemi’s 2019 film is the horror comedy, co-starring Adam Driver, Chloë Sevigny, Bill Murray and Tilda Swinton.

CinemaCon Vanguard Award
Jamie Lee Curtis

Jamie Lee Curtis (Photo by Andrew Eccles/Universal Pictures)

In a career spanning more than 40 years, Jamie Lee Curtis has made her mark in the film industry, beginning with her starring role in her movie debut: the 1978 horror classic “Halloween.” She has starred in multiple “Halloween” sequels, most notably 2018’s “Halloween,” which made her the first woman over the age of 60 to star in a movie that debuted at No. 1 in the United States. Curtis’ other well-known movies include the 1980 horror flick “Prom Night,” the 1988 comedy “A Fish Called Wanda,” the 1994 action film “True Lies” and the 2003 remake of the comedy “Freaky Friday.” Curtis has two films due out in 2019: the crime drama “Knives Out” and the comedy “Senior Entourage.”

CinemaCon International Star of the Year
Kevin Hart

Kevin Hart (Photo by David Lee)

Kevin Hart is one of the busiest people in showbiz, with starring roles in movies, TV and Web series, in addition to headlining successful arena tours. The year 2019 started out with the dramedy “The Upside” (starring Hart and Bryan Cranston) debuting at No. 1 in the United States. His 2018 comedy film “Night School” was also a hit.

CinemaCon Ensemble Award: The Cast of “Terminator: Dark Fate” – Linda Hamilton, Natalia Reyes, Mackenzie Davis and Gabriel Luna

Natalie Reyes, Mackenzie Davis and Linda Hamilton of “Terminator: Dark Fate” (Photo by Kerry Brown)

“Terminator: Dark Fate” is the 2019 entry in the longtime “Terminator” film series. “Terminator: Dark Fate” stands out from the rest of the films in the series because the cast is led by women: Linda Hamilton (who starred in the first two “Terminator” movies), Natalie Reyes and Mackenzie Davis. The movie’s cast also includes Gabriel Luna. Original “Terminator” star Arnold Schwarzenegger is reportedly making a cameo appearance.

CinemaCon Directors of the Year
Anthony Russo and Joe Russo

Joe Russo and Anthony Russo (Photo by Gareth Cattermole/Getty Images)

Director brothers Joe Russo and Anthony Russo helmed the superhero movie “Avengers: Endgame,” which is expected to be the biggest box-office blockbuster of 2019. The Russo brothers also directed several other Marvel movie blockbusters, including 2018’s “Avengers: Infinity War,” 2016’s “Captain America: Civil War” and 2014’s “Captain America: The Winter Soldier.”

CinemaCon Action Star of the Year
David Harbour

David Harbour (Photo by Marion Curtis/ StarPix for Summit Entertainment)

David Harbour might be best-known as a co-star of Netflix’s horror series “Stranger Things,” but he’s aiming to make a big splash in movies by starring as the title character in the 2019 superhero flick “Hellboy.” Harbour takes over the role that was originated by Ron Perlman.

Cinema Spotlight Award
Octavia Spencer

Octavia Spencer  (Photo by Todd Williamson/Getty Images for Fox Searchlight Pictures)

Octavia Spencer won an Oscar for Best Supporting Actress for her breakthrough role in 2011’s “The Help.” She has also has Oscar nominations for her supporting roles in 2016’s “Hidden Figures” and 2017’s “The Shape of Water.” Spencer has branched out into producing films, including the 2019 horror flick “Ma,” where she has a starring role.

CinemaCon Male Star of Tomorrow
Henry Golding

Henry Golding (Photo by Kelsey McNeal/ABC)

Henry Golding made his feature-film debut with a starring role in the 2018 blockbuster romantic comedy “Crazy Rich Asians.” He was also in the 2018 crime thriller “A Simple Favor,” co-starring Anna Kendrick and Blake Lively. Golding has re-teamed with “A Simple Favor” director Paul Feig for the 2019 romantic comedy “Last Christmas,” co-starring Emilia Clarke, Emma Thompson (who wrote the movie’s screenplay) and “Crazy Rich Asians” co-star Michelle Yeoh.

CinemaCon Female Stars of Tomorrow
Beanie Feldstein and Kaitlyn Dever

Beanie Feldstein and Kaitlyn Dever (Photo by Francois Duhamel)

Beanie Feldstein and Kaitlyn Dever co-star in the 2019 comedy “Booksmart,” about two straight-laced best friends who decide to go wild on the day before their high-school graduation. Feldstein is also known for her supporting roles in the 2018 Oscar-nominated comedy film “Lady Bird” and the 2016 comedy film “Neighbors 2: Sorority Rising,” while Dever is a co-star of the comedy series “Last Man Standing.” Dever’s other recent film roles include the 2018 dramas “Beautiful Boy” and “The Front Runner.”

CinemaCon Breakthrough Director of the Year
Olivia Wilde

Olivia Wilde (Photo by Vivien Killilea/Getty Images)

Olivia Wilde made her directorial feature-film debut with the 2019 comedy film “Booksmart,” which got rave reviews when it had its world premiere at the SXSW Film Festival. Wilde is an accomplished actress who has starred in such films as 2018’s “Life Itself” and 2010’s “Tron: Legacy.” She is also known for her past TV roles in the medical drama “House” and the nighttime soap opera “The O.C.”

CinemaCon Comedy Stars of the Year
Seth Rogen and Charlize Theron

Seth Rogen and Charlize Theron (Photo by Philippe Bossé)

Seth Rogen and Charlize Theron play unlikely love interests in the 2019 political comedy film “Long Shot.” Rogen is best known for his comedic roles in movies (such as 2007’s “Knocked Up,” 2008’s “Pineapple Express” and the “Neighbors” films), while Theron does mostly dramatic and action movies, including 2005’s “Monster” (for which she won an Oscar for Best Actress), 2015’s “Mad Max: Fury Road” and 2017’s “Atomic Blonde.”

Other awards that will be given at the ceremony:

  • CinemaCon International Filmmaker of the Year Award: Graham King, producer of 2018’s “Bohemian Rhapsody”
  • CinemaCon Passpartout Award: Helen Moss, Paramount Pictures senior vice president of international distribution
  • NATO Marquee Award: John D. Loeks, Studio C chairman
  • Career Achievement in Exhibition Award: Jérôme Seydoux, Pathé co-chairman/CEO and Les Cinémas Gaumont Pathé chairman/CEO
  • Lifetime Achievement Award: Anthony Bloom, Cineworld Group chairman
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