The End Review: Tried So Hard And Got So Far, But… [TIFF 2024]

As someone who’s spent countless hours immersed in the world of cinema, I was genuinely excited to see “The End” given its pedigree and ambitious premise. Alas, my anticipation was as short-lived as the human race in this film!

“The End” is a film I eagerly anticipated due to its ambitious premise. Joshua Oppenheimer, acclaimed director of documentaries like “The Act of Killing” and “The Look of Silence,” delves deeper into the psychological effects of genocide on perpetrators through a unique blend of dark sci-fi comedy and drama. The film follows a family who orchestrated a global extinction event, living in blissful ignorance within their luxurious underground sanctuary.

Regrettably, not every grand move will yield success, and “The End” seems to be one of the most disheartening letdowns in the fall 2024 film festival season thus far. Its chilly atmosphere and detachment are intentional, and those who enjoy debating might even defend its flaws as a musical as part of conveying its message. However, it struggles to articulate enough to warrant its 148-minute duration, draining interest and falling short in turning its intriguing big concepts into an engaging narrative.

Singing Swinton swiftly sputters

The primary issue with the production titled “The End” lies in its subpar quality as a musical. It’s been criticized for emulating the style of a “Golden Age musical,” but even the legendary duo, Rodgers and Hammerstein, might find themselves dozing off during these unmemorable melodies. Since I’m not well-versed in composer Joshua Schmidt’s other works, I can’t compare “The End” to them. However, the film’s other composer, Marius de Vries, is renowned for creating exceptional movie musical soundtracks, such as those for “Moulin Rouge!,” “La La Land,” and “Annette,” which shares some artistic quirkiness with this production. Thus, this outcome feels particularly disheartening.

Among the four principal actors, George MacKay and Moses Ingram possess powerful singing abilities, which make their musical performances more delightful compared to those led by Michael Shannon and Tilda Swinton. It could be debated that their less-than-stellar singing is a strategic choice for their characters; however, it might not be enough to effectively convey this aspect. One of the film’s funniest moments comes from making MacKay’s character appear particularly inept at dancing during one of the few dance sequences in the movie.

I’m equally dismayed by the lack of creative flair in the presentation of these songs. The intriguing backdrops, such as the colossal salt mines surrounding the bunker and the internal walls adorned with classical artwork, offer immense potential for visually stunning set pieces. However, it seems only a fraction of the numerous musical numbers actually capitalize on this potential, and even when they do, the attempts at grandeur feel insincere. It’s puzzling why this production was turned into a musical if the creators weren’t committed to showcasing what truly sets musicals apart.

Some good satire — but not enough

The novel, “The End,” delves deepest into its satirical commentary by portraying a sheltered son’s quest to grasp life before everything changed. In an unusual tribute, he constructs a diorama of the world beyond his confines, where Chinese railway workers appear content to perish on the job (“It stirs me deeply”). Additionally, he collaborates with his father on a memoir intended for future generations (if they survive), to argue that fossil fuels did not bring about global warming and that his father was an exceptional CEO due to his concern for people.

As Moses Ingram’s enigmatic character enters our gaming world, I find myself doubting the tales I’ve been spinning all this time. Her outsider status stirs up a whirlwind of questions about the truths I’ve been told and ignites in me an unsettling curiosity. Meanwhile, her first meal with us brings forth a torrent of tears, as she shares her heart-wrenching story – abandoning her true family to perish. It’s a tale that mirrors our own actions, yet leaves us puzzled, for we’ve buried the remorse so deep within ourselves that we can barely fathom why she carries such heavy guilt.

It seems that these characters have some intriguing developments, but unfortunately, there isn’t enough depth to keep viewers engaged for 2.5 hours, especially since the grandiose aspects are not fully realized. The presence of additional household characters doesn’t significantly enhance the plot; the portrayal of the butler (Tim McInnerny) as a stale gay stereotype detracts from the overall appeal, while the side story about the family friend (Bronagh Gallagher) is intense enough to make one question whether the movie would be more engaging if it centered more around them.

Although “The End” is distinctive in its genre fusion, merely being unique doesn’t make it a must-see. If you’re interested in a post-apocalyptic film with impressive sets and Tilda Swinton delivering quirky performances, consider watching “Snowpiercer”. It offers a more enjoyable experience. In terms of experimental musicals that satirize the ruling class, this production falls short compared to Stephen Sondheim’s final stage show, “Here We Are”. Regrettably, it doesn’t measure up to the brilliance of a Sondheim masterpiece, even an unfinished, lesser-known one. Despite its potential, this production ultimately fails to hit the mark.

The closing credits for “The End” were shown at the Toronto International Film Festival, with a cinema release scheduled towards the end of this year.

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2024-09-09 20:29