This is perhaps is most obtuse movie, meant to be watched multiple times, and discussed. I marked this as a spoiler not for those who have never seen his movies, but for those who have. This review contains spoilers, click expand to view.Ĭharlie Kaufman seems to hate new viewers, opting instead to cater towards his already well established fans. If at all times you're wondering what is real and what is not, I could say the matter could be more interesting if finding the meaning was significant and then you would ask yourself was it worth it? But ultimately and with 134 long minutes that question echoes over and over again and my response is: ''It wasn't'' … Expand Unfortunately as you keep going you realize that it doesn't really matter and is there where the key and monumental flaw of this film lies. The characters turn into others, several times, this because time seems to go back and forth and you ask yourself many things at that moment and not so much because you want to know what is happening, but because it's inevitable to question whether there will be a payoff to all that stuff. And it's that what follows is quite bizarre. Although it's evident that it's about putting a discordant atmosphere in that home in which a good piece of the plot takes place, one also cannot help asking what the true purpose of that was.
In that house we meet the parents of Jesse Plemons' character and they are played by Toni Collette and David Thewlis, but both characters are shown so exaggerated and clumsy that at no time they seem like real people. We arrive at the parent’s house but there, the story stagnates and even when the film invites surrealism, it's evident that there's a big disconnection between what is seen on screen and what I assume is being explored in its philosophical allegories. She's meeting her boyfriend's parents for the first time but while inside the car with him, we can see he's barely interested in responding to her. From the beginning when we have the perspective of the character of Jessie Buckley, you realize that something is wrong. The idea and its conceptualization are those who take center stage but that only makes sense when you realize the characters presented aren't going anywhere. It's an idea that doesn't seem to make sense, especially since this is reflected in the characters and you understand it when after certain events you realize that there is no central character. I’m Thinking of Ending Things feeds on being weird but unfortunately for its development it doesn't seem to be interested in that weirdness being something worth mentioning, rather that is simply the presentation layer. Honestly, I'm already preparing for the wave of opinions that I will see about that online. And when you wander down that path if there’s no heart behind the intellectual pomposity, you will hardly give the viewer good reasons to remain interested beyond the fact of assuming that it’s a "deep" film and the weak couldn’t understand it. I expected no less from Kaufman, but what lies behind the facade is too vague. And when you wander down that path if there’s no heart behind the intellectual pomposity, you will hardly give the I’m Thinking of Ending Things it’s quite a trip. I’m Thinking of Ending Things it’s quite a trip.
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