A mixture of domestic drama, apocalyptic fable and old-fashioned (and unironic) Hollywood musical, The End is an audacious and frequently enrapturing experience, with superb performances at its emotional heart.
In truth, the movie can be pretty ridiculous, too, with its wild ambition sometimes coming across as a little foolhardy. But overreaching might be the whole point of The End, which offers an end-times prescription for living: Hold the fantasy together as long as you can. And when in doubt, sing.
The End requires complete submission to the off-kilter rules that govern this family and to Oppenheimer’s ambitions to radicalize the musical genre. It’s an admirable if uneven endeavor.
There may never be another film like The End, and that alone makes it special, though surely all involved would prefer for it to be seen. As it is, the film feels like an obtuse missive, hidden in plain sight, just waiting for intrepid seekers to unearth it.
Production Company
Final Cut for Real,
The Match Factory,
Wild Atlantic Pictures,
Dorje Film,
Moonspun Films,
Ministero della Cultura (MiC),
Det Danske Filminstitut,
Den Vestdanske Filmpulje,
FilmFyn,
Film- und Medienstiftung NRW,
Mitteldeutsche Medienförderung (MDM),
Fís Éireann / Screen Ireland,
Global Screen Fund,
Svenska Filminstitutet (SFI),
Film i Skåne,
Nordisk Film & TV-Fond,
Sicilia Film Commission,
Anagram,
Bertha Doc Society Journalism Fund,
Bray's Run Productions,
Finite Films and TV,
Iambic Dream Films,
Making Movies Oy,
Shoni Productions,
The End MFP