I'm Thinking of Ending Things (2020)

[Eric Duncan]

Discuss the Kauf

[filmlover]

Ended up having sorta mixed feelings about this. It's certainly a Charlie Kaufman effort, that's for sure. For a while I was just going along with all the trippy stuff that was happening but it really fell apart as it approached the inconclusive finish. Understand what Kaufman was going for, but I don't think he executed it entirely well. But there's a lot to appreciate here still (especially the performances from Jesse Plemons and Jessie Buckley) and it sticks with you long after it's over, so it's worth checking out provided you know what you're getting into. B-

[SLAM!]

I'm giving it an A not because it's perfect but because it dares to utilize narrative filmmaking in a cerebral way, and in a way that comes across as wholly original. One of the best films of the year.

Edited February 3, 2021 by SLAM!

[Webslinger]

As is customary of Charlie Kaufman’s screenwriting and directing works, I’m Thinking of Ending Things is a trippy, fascinating experience that defies easy categorization and left me with plenty to ponder afterward. With a narrative flow most clearly comparable to a bizarre dream that mutates in ways that suggest vague connections between a jumble of subconscious ideas, it is a heady, loopy film that successfully goes to weird places and pulls the rug out from under the audience just before we can ever get *too* comfortable with how it is approaching its story. It is such a purposely strange experience that it will not be for everyone (though I would argue that it’s not as distant nor as dense as Synecdoche, New York), but for viewers who are on Kaufman’s wavelength, it is fascinating to watch and attempt to piece together, even if it runs a bit too long and sometimes retreats a little too far into its fantastical headspace. Like Kaufman’s past efforts, it makes terrific use of striking visual imagery and compelling dialogue, both of which keep the proceedings engaging and meaningful even in the moments where the significance of what is happening onscreen might be fuzzy. The cinematography in particular – framed in a cramped 1.37:1 aspect ratio, presumably to give viewers the same sense of discomfort the female lead feels in her ever-changing environment – is beautiful, as it captures all the film’s surreal visual elements in captivating fashion. As is just about always the case with Kaufman, the script is also clever and succeeds in using surreal plot developments in service of deep and compelling insights; in this particular film’s case, those insights include identity, doubts about partnership, the fear of being alone, and the crushing weight of routine. It admittedly feels a little obtuse for the sake of obtuseness at times (most notably in the fact that it is not as direct or concrete about its true nature as the novel upon which it is based), but it unfolds in such a compelling manner that I was onboard with seeing where it went all the way up to the end. As the young woman at the center of the action, Jessie Buckley does very strong work; her voiceovers are elegant, and she is expressive in speech and gestures alike. From the very beginning, she is convincing as a woman questioning the necessity of a boyfriend she increasingly sees as dead weight, and her reactions to the confusing sights around her feel authentic enough that they allow viewers to connect with her experience. Jesse Plemons is solidly reliable as said dead weight boyfriend, as he does a good job of walking the line between the boring guy the young woman seems to see him as being and a more interesting guy (or at least shades of one) that she might have been drawn to earlier in their relationship. Toni Collette and David Thewlis are both clearly having a great time as Plemons’s character’s eccentric parents, and they make the most of opportunities to flex their comedic and dramatic muscles. Much of this review may sound vague, but I feel that to speak more directly about this film would be to give away its loopier surprises and rob it of the power it derives from its many odd touches. For viewers who can connect with what Kaufman is doing, it’s one of the most singularly intriguing films of the year.

 

B+