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The End Reviews
The moral inquiry, like the tunes, can drag.
Is its reflection on self-delusion powerful? Absolutely. But is it accessible to the average viewer, and does it sustain interest over more than two hours of runtime? Not quite.
The End isn’t interested in showing you how best you can serenade your way through secrets and lies. It’s eager to convince you that doing so is just as bad as the act itself.
It's a mournful post-apocalyptic musical with an ecological undertone, which could have been a brave attempt at the unconventional, but instead ends up in a narrative uphill battle...[Full review in Spanish]
The End is a very formally risky film, with a deep critical charge of society and class differences. [Full review in Spanish]
[The End is] a film about representation...and, with musical numbers, dialogue, and performances that are completely off the grid, distorts any obvious idea about the fear of the future. [Full review in Spanish]
...a post-apocalyptic musical that starts with an interesting idea, but becomes tiring and unbearable in its insistence that all its characters have a voice. [Full review in Spanish]
Oppenheimer is up to something similar here — he’s transfixed by this family of American oligarchs posing for their family photo — but Lord, does the film luxuriate in its own moral superiority to these people.
Joshua Oppenheimer is not afraid of a challenge... the same is true of George MacKay.
The whole enterprise is weirdly compelling and oddly flat at the same time. And those tunes? Showstoppers? Not quite, although by the end, their deliberately old-fashioned hokeyness grows on you.
It’s all meaty stuff for a think piece, but rather less swallowable as a film.
Tilda Swinton's restrained portrayal of the matriarch brings a brooding intensity.
In a way, The End is exactly the kind of risk-taking venture you would expect and even hope for from a visionary director such as Oppenheimer. I just wish I liked it more.
It’s funny, in a deeply grotesque way. No line is ever directly played for laughs by Shannon, Swinton, or McKay, their selfish myopia reading naturally as true to life. But, as they say, you have to laugh or else you’ll cry.
Even if the film can feel airless at times, with long, solid shots of the survivors’ banal everyday lives, it does have much to say on the foibles of mankind – and the way society may very feasibly backslide into, well, The End.
Slapping the audience around the head with 149 minutes of awfulness is a provocative political gesture but it’s empty, too, in The End.
The performances sing with or without music, the cast sharp as sushi knives.
This is a film that feels as though it will go on to win plaudits, but for me, there is something not fully cohesive about it as a whole...
Its persuasive, unsettling intelligence will get under your fingernails and into your bones. If any recent release has the potential to become a cult classic it is this melodic warning from beneath the earth.
The beating heart of it develops through MacKay’s performance of pure naivety and his burgeoning relationship with Ingram’s Girl.