IMDb RATING
5.9/10
8.4K
YOUR RATING
A woman tries to find her way home with her newborn while an environmental crisis submerges London in floodwaters.A woman tries to find her way home with her newborn while an environmental crisis submerges London in floodwaters.A woman tries to find her way home with her newborn while an environmental crisis submerges London in floodwaters.
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The End We Start From hadn't been on my radar before and the trailer didn't give a huge amount away. I had no expectations but it wasn't a bad little film. It had a made for TV style and was clearly produced on a low budget. If you are expecting epic disaster or dramatic dystopian events then you will be disappointed. If you enjoyed 28 Days Later or How I Live Now then The End We Start From should be an enjoyable watch for you, although both those films are better than this. Jodie Comer is quite captivating but I feel like her big starring film role is yet to come. Luckily it wasn't overlong so it didn't drag on.
Far better than the reviews suggest, this is a well made indie climate fiction road movie in a similar style to 28 Days Later and Children of Men. But unlike those two excellent films, this is a character driven and a more ambient experience. It still follows a linear plot and is not what I would describe as overly art house (think Terrence Mallick) but I can understand why it might be a little slow and non-immediate for some. But it is a beautifully shot movie with great performances and a standout turn by the excellent Jodie Comer, who displays believable strength and vulnerability in a story that steers clear of contrivance, cliche, and convenience.
A woman tries to find her way home with her newborn while an environmental crisis submerges London in floodwaters.
I think this film does not know what it wants to be. It's very pretentious, with lots of sombre scenes that don't mean anything, to a far-too-loud score that is overly dramatic, to interactions that don't really mean anything.
It hints at times of the breakdown of society, and the lack of Govt strategy to deal with the problem, and the stoical resolve some people show in getting back to normal. But they are inferred by me rather than implied by the film. I think if the film has a point then it is only one that was invented by the watcher to make sense of it.
The acting isn't too bad throughout but I don't think they really have much to work with. There's very little dialogue and much of what there is can be confusing. Interactions between people seem to be standalone murals which the director hopes look impressive but have no real connection to the story. There's also some very weak plot lines which seem to go nowhere and it feels as if they were just an idea that didn't last.
I watched it simply because Jody Comer put her name to it and I expected it to shine because of her but sadly, I think she picked a pig in a poke with this one.
It's not vile, it's not dire, it's simply not very good. The worst thing is it is tedious and monotonous including having to turn the volume down all the time for the silly soundtrack and then back up again for the dialogue.
It's not the worst film I've ever seen but I won't ever feel the need to watch it again.
I think this film does not know what it wants to be. It's very pretentious, with lots of sombre scenes that don't mean anything, to a far-too-loud score that is overly dramatic, to interactions that don't really mean anything.
It hints at times of the breakdown of society, and the lack of Govt strategy to deal with the problem, and the stoical resolve some people show in getting back to normal. But they are inferred by me rather than implied by the film. I think if the film has a point then it is only one that was invented by the watcher to make sense of it.
The acting isn't too bad throughout but I don't think they really have much to work with. There's very little dialogue and much of what there is can be confusing. Interactions between people seem to be standalone murals which the director hopes look impressive but have no real connection to the story. There's also some very weak plot lines which seem to go nowhere and it feels as if they were just an idea that didn't last.
I watched it simply because Jody Comer put her name to it and I expected it to shine because of her but sadly, I think she picked a pig in a poke with this one.
It's not vile, it's not dire, it's simply not very good. The worst thing is it is tedious and monotonous including having to turn the volume down all the time for the silly soundtrack and then back up again for the dialogue.
It's not the worst film I've ever seen but I won't ever feel the need to watch it again.
I had been putting off watching The End We Start From for a few months, only because I knew that I needed to be in the right state of mind to take it all in.
I was not left disappointed. This British Indie disaster film is so quiet and understated, I can imagine if it had been done in America, it would have been quite over the top.
Jodie Comer is brilliant as a mother trying to get herself and her baby through the flooding disaster that has hit the UK. Separated from her partner she battles to keep them safe and battles with her memories to try and let go.
This is honestly an extraordinary film. I highly recommend it.
I was not left disappointed. This British Indie disaster film is so quiet and understated, I can imagine if it had been done in America, it would have been quite over the top.
Jodie Comer is brilliant as a mother trying to get herself and her baby through the flooding disaster that has hit the UK. Separated from her partner she battles to keep them safe and battles with her memories to try and let go.
This is honestly an extraordinary film. I highly recommend it.
With a fairly biblical storm raging outside, an heavily pregnant mother (Jodie Comer) is sitting at home watching the telly. Power goes out, waters break then the struggle to get boyfriend (Joel Fry) and ambulance to hospital is the start of their woes. Leaving, they discover that huge swathes of England are under water so they head to higher ground and his parents. Fortunately, they have had a long ridiculed bit of a siege mentality so there's plenty of food but that's about all as the family units begin to disintegrate, just as society is doing at large elsewhere. The couple become separated and the un-named mother must now find safety for herself and her baby until some form of normality returns. This is another hugely emotional effort from Comer with Fry, a fleetingly potent contribution from Benedict Cumberbatch and a strong role for new-found friend Katherine Waterson working well, too. The story though - well it reminded me a little of "Children of Men" (2006). A rather depressing and dreary chronology - augmented with some flashbacks of happier days - of how individuals deal with disaster, be they self induced or imposed, and I struggled to remain engaged as the narrative lumbered along. The direction and the score are also fairly lacklustre. One too many shots of cars driving along, of mother carrying baby, cheering baby, nursing baby - and talking of the baby, boy does it age! If it's meant to be a very personal, intimate even, indictment of mankind's inhumanity to itself when facing desperation then it just about works, anything else was rather wasted on me, I'm afraid.
Did you know
- TriviaFollowing a number of stalking incidents, including one that allegedly occurred on the set, Jodie Comer was fearing for her own safety. Co-star and executive producer Benedict Cumberbatch recommended a bodyguard who had previously looked after him, and the producers took an extra effort to make sure that everyone on the set was safe.
- ConnectionsReferenced in Brad Tries Podcasting: Baby Takes Flight (2024)
- SoundtracksMission Desire
Performed by Jane Weaver
Written by Jane Weaver
Published by Heavenly Songs Ltd
Administered by Bucks Music Group Ltd
Courtesy of Finders Keepers Records Ltd
- How long is The End We Start From?Powered by Alexa
Details
Box office
- Budget
- $10,000,000 (estimated)
- Gross worldwide
- $1,521,981
- Runtime1 hour 42 minutes
- Color
- Aspect ratio
- 2.39 : 1
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