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It Ends review – gripping micro-budget horror ranks among the year’s best

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Led by a stellar cast of gen-Z newcomers, Alex Ullom’s directorial debut is an expertly crafted nightmare about a road trip gone wrongTime loops often feel like the movies’ favorite zany stylistic trick: Bill Murray plotting to win Andie MacDowell’s heart, a college student solving the mystery of her own grizzly murder, or as a ruse for Anne Hathaway to face off with a T rex. The excellent new indie horror film It Ends takes a different approach with its nightmarish depiction of a carful of...

Led by a stellar cast of gen-Z newcomers, Alex Ullom’s directorial debut is an expertly crafted nightmare about a road trip gone wrong

Time loops often feel like the movies’ favorite zany stylistic trick: Bill Murray plotting to win Andie MacDowell’s heart, a college student solving the mystery of her own grizzly murder, or as a ruse for Anne Hathaway to face off with a T rex. The excellent new indie horror film It Ends takes a different approach with its nightmarish depiction of a carful of friends stuck in an endlessly repeating day. It’s less of the moony japes of Groundhog Day or Palm Springs than an arthouse spin on the Prometheus myth, with the unfortunate souls of the film cursed not with death but with the torture of eternal life.

After helping their friend move into a new apartment, a crew of aimless twentysomethings take a late-night drive to get food, but after GPS leads them deeper and deeper into a desolate forest, it’s clear that they have lost their way. When they pull over, they are set upon by a group of people that look eerily similar to them – young people who are dressed like they stepped out to the corner store and couldn’t find their way back. “They look scared,” one character says with a pained expression. “Why are they scared?”

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gripping micro (ORG) Alex Ullom’s (PERSON) Bill Murray (PERSON) Andie MacDowell (PERSON) Anne Hathaway (PERSON) Groundhog Day (EVENT) Palm Springs (LOCATION) Prometheus (PERSON)
Originally published by The Guardian Culture Read original →