It Ends review: Endless road becomes existential puzzle
‘It Ends’ is an eerie mystery that follows a car trapped on a road to nowhere, driving its occupants to despair.
Once upon a time, all navigation was analog. Drivers relied on giant, foldable road maps and, later, printable directions to get where they were going. Without real-time instructions, it was far more likely someone could take a wrong turn. Those errant paths served as the start of many horror pictures. But with the introduction of live GPS information, those stories have become less probable and therefore less popular. People are more confident taking unfamiliar routes now. While poor reception provides a narrative solution, it does become a bit tedious. However, in It Ends, it’s the road that becomes wrong rather than the directions.
Friends Day, Fisher, James and Tyler (Akira Jackson, Noah Toth, Phinehas Yoon and Mitchell Cole, respectively) are hanging out for the first time in a while. Day has the GPS directions on her phone and Tyler is driving. To pass the time, they’re catching up and debating the options in a silly “this or that” game. The next turn is supposed to be in three miles, but it feels like they should’ve reached it by now. Worried they missed it, Tyler turns around. But there’s nothing behind them. When they stop to investigate, a horde of people attack from every direction. They drive away in a panic, only to discover the assault reoccurs every time they stop, no matter how far they go. Twenty-four hours later, their quarter-tank of gas hasn’t run out and the road hasn’t changed.
When the film begins, audiences have no sense of who these twenty-somethings are, how they know each other or where they’re going. Their inane conversation only widens the gap between them and viewers. The frivolity is familiar, but that doesn’t mean anyone wants to listen to a group of people discuss the pros and cons of being defended or attacked by 50 hawks, 10,000 rats, five gorillas or one guy with a gun. It makes the opening minutes a chore as viewers try to sift through the trivial dialogue in search of clues to who these people are.
Audiences only briefly see the generic GPS app a couple of times and all they ever see is a straight line — no phantom turn. However, after their first U-turn results in a terrifying fail, no one ever suggests turning around again. In fact, James is convinced the only through is forward. It’s like being in the nightmare of an endless hallway or tunnel that keeps getting longer no matter how far you think you’ve gone. But you’re sure if you keep going, you will make it to the end eventually.
The film has the hallmarks of a low-budget production. Except for the occasional brief excursion outside the vehicle, most of the film takes place within the confines of the Jeep. Being outside the car presents significant and confusing dangers. The first attack is shocking, but it doesn’t fit the pattern of any known humanesque threat. The people speak and they’re not trying to eat anyone. Their primary interest is the car and its current occupants are obstacles.
The longer they drive, the more time becomes irrelevant. They discover they have no physiological needs. They don’t require food, sleep or bathroom breaks. The Jeep also defies logic, never running out of gas or requiring maintenance. After driving for days or perhaps weeks, they try to bring structure to their monotonous existence. They program everything from stopping to stretch, playing games, sharing stories and listening to music. They also schedule time to air their grievances with each other, which provides rare glimpses into how they really feel.
It’s an interesting commentary on people’s dual needs for companionship and solitude. It also explores the effects on their mental health as a lack of purpose diminishes their sense of self and motivation to continue. Before they become stuck on the endless road, the camera tends to stay back. Wide shots show multiple characters in the frame, focusing on their interactions and camaraderie. The longer they’re trapped, the more the shots become tighter. As their hope of escape wanes, the camera isolates them from each other.
The film only marks the distance they’ve travelled a few times throughout the picture. But when it does, the mind-boggling numbers emphasize the miserable reality of their situation. Consequently, there’s no attempt to extend or complicate the relatively simple plot. First-time writer-director Alex Ullom just presents a straightforward yet mildly compelling narrative with a hint of The Twilight Zone peeping between the lines.
Director: Alex Ullom
Starring: Mitchell Cole, Akira Jackson, Noah Toth and Phinehas Yoon
