Directed by Charlie Kaufman star Jesse Plemons, Toni Collette duration 2 hours, 14m 40039 vote Release Date 2020 Genres Drama

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Unknown to the general public in 2016, this “neighbor girl” won an Academy Award for best actress for her poignant appearance in the “Room”, the true story of a woman who was exiled with her child by predators. He had overtaken Cate Blanchett and Jennifer Lawrence, both of them had run out of statues, but also Charlotte Rampling and Saoirse Ronan.

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GRADE: C-
THIS FILM IS NOT RECOMMENDED.
IN BRIEF: An earnest but artsy-fartsy philosophical exercise about a road trip that impresses with its testament to the power of words, even though its story crashes and burns.
JIM'S REVIEW: Jake and Lucy are going on a road trip to meet the folks in Charlie Kaufman's film adaptation of Iain Reid's novel, I'm Thinking of Ending Things. Like most road adventures, it starts off full of promise and energy and downgrades to dumb and numbingly dumber detours by the end of its tiresome journey. Things just don't end well for the characters or the moviegoing audience.
This road may be hard and less traveled as this couple in crisis drives past barren snowscapes to a remote farmhouse where Andrew Wyeth might easily have dwelt. The blizzard rages on as the window wipers noisily scrap against the windshield like metronomes pushing off the blinding snow. The duo converses about a myriad of subjects and we learn, through Lucy's internal voiceover thoughts, that all is not well in this relationship. The ride continues through the first third of the movie as things become more apparent that this joyless ride is slightly askew. Time seems to stand still or move swiftly forward as they reach their destination where things progress to a whole new level of weirdness. She wants to end "It" her relationship? sanity? life. He is just coasting, going along for the ride; You, depending on your own level of stamina, will be either thoroughly engrossed by their philosophical bantering or totally bored with this long day's journey into night.
Director/Writer Kaufman quickly establishes an eerie atmosphere, abetted by cinematographer Lukasz Zal's vision of bleak winter landscapes and Jay Wadley's mood music. What Mr. Kaufman fails to establish in his film is one essential element: a cohesive plot. He is more concerned about discussions on a range of topics like the written works of William Wordsworth and David Foster Wallace, Pauline Kael's literary word-by-word critique of John Cassavetes ' indie fave, A Woman Under the Influence or a lingering strange obsession with Rodgers and Hammerstein's Oklahoma. Were that he have been more involved with sharper character development or a focused narrative! Actually, the film prides itself on throwing one off-kilter with its surreal non-linear structure and its surface oddities as it showcases a nightmarish vision of two characters lost in translation.
Without much doubt, this one of the strangest films any moviegoer will experience. Sections of the film have characters age as they enter or exit a room, one character shifts identity in name and occupations, and behaviors by other supporting characters appear evil or menacing for no real purpose. We seem to have entered a Twilight Zone dimension. While the film might be a perfect parable to these COVID days where weeks blur into months and time becomes more of an enemy than friend, the overall effect of the film is more exhausting than exhilarating.
The movie is a bi-polar mash-up of half-baked intellectualized ideas. Parts of this film are artfully eloquent while other sequences are so heavy-handed and contrived, especially as the characters reach the end of their journey. By the film's absurd third act, the film strains all credibility even in this illogical world. (Actually, the story literally veers off the road at the film's midway point, although the aforementioned Oklahoma motif dooms the seriousness of the proceedings and becomes unintentional laughable with its jarring musical sequences, a poorly animated talking pig, and some very bad make-up design.) One wishes Mr. Kaufman had reined in all of his quirkiness and spent more energy on his plot narrative. A secondary supporting character played by Guy Boyd makes little sense until the concluding final scenes and, even then, he remains a mere plot device to advance the incredulous action.
Still the film has much to say and scores with many of its poetry-laden moments. Some of the dialog is so insightful and memorable. Nowadays, most movies rarely accomplish this high level of wordplay. It's just a shame that the screenplay becomes unmanageable. There are some clever philosophical musings throughout the movie. (Perhaps, you should just read the book tos savor those passages.) Here all the eloquence are tethered to a laborious slog of a movie.
I'm Thinking About Ending Things is a modern day ode to the intimations of immortality. I would agree that the movie is a intriguing mediative exercise about isolation and the fragility of the human condition. Some critics have lauded this movie for its inventiveness and existential message, but not this reviewer. Yes, there is much to admire here (Mr. Kaufman's solid direction, fine acting by the leads, strong sound design, and good production values. But the film's wild exasperating conclusion makes this moviegoing experience ultimately unsatisfying. One wonders if anything that we witnessed is real in this unreal universe, but even that angle goes unanswered in this cinematic quagmire.
Indeed, nothing makes sense in Mr. Kaufman's movie, although I'm sure this talented filmmaker enjoys the enigmatic paradox of philosophical questions about life he has lensed. I didn't. It certainly would have helped things if the filmmaker had put more serious thought about his cockamamie ending than he did in I'm Thinking of Ending Things. In fact, the film's denouncement is one of the most disappointing endings I have ever experienced in my many years of filmgoing. The film is a noble failure. And while its words don't fail, the inane actions and non-sensical plotting of these real or imaginary characters in this woeful story do. As another poet might venture to say, There is much ado about nothing...