Avaliações do Metacritic

In End of the Road, Shelton transforms an already compelling script into one about family, motherhood, and survival. And it is nothing short of entertaining and refreshing.

End of the Road was produced for maybe 10% of the budget allotted for the big, bloated, star-studded Netflix thrillers “The Gray Man” and “Red Notice” (both reportedly cost some $200 million to make), and it doesn’t come close to approaching the glamour value, breathtaking location shots and epic action sequences of those two films — but it’s better at executing its mission, which is to immerse us in 90 minutes of old-fashioned bloody vigilante satisfaction.

Director Millicent Shelton, a veteran of dozens of music videos and television shows (including two episodes of Latifah’s series Star), wisely builds tension while exploring their family dynamic, and then stomps on the gas to bring it all home.

Even when the movie wants for tension, it brims with playful style.

There’s definitely some gas in its tank in the opening sections, which are somewhat promising, but then the story takes a predictable route that fails to deliver enough suspense or interest to go the full distance.

The action is clumsy. The writing leans on tropes. The dramatic scenes overestimate the artistic range of a charming rapper-turned-actor like Bridges. And director Millicent Shelton makes some curious stylistic decisions along the way, whether it’s amethyst lighting or montages that have the feel of a R&B music video.

Director and cast do their best — well, maybe not their best, but their competent professional duty — with a formulaic, contrived screenplay. Still, the results do no one much credit, landing closer to overripe cheese than taut suspense, or even guilty-pleasure terrain.

The Freemans’ minivan is moving 35 miles per hour, max, in every scene set in the car. They needed a lot more horsepower in order to convey a sense of urgency and thrill, and I’m not just talking about the van.

It’s as though the filmmakers couldn’t decide on one complication to set the action in motion, so they picked six. That much narrative congestion keeps the story from really moving.

Queen Latifah and Ludacris drive right into a brick wall of action cliches.