Fri. Jun 14th, 2024

You’ve probably heard of the Netflix movie called How It Ends. Still, you may not have heard of Daryl Wein and Zoe Lister-Jones’ How it Ends, an admirable film made at its peak recently, in which the protagonist Liza (Zoe Lister-Jones) and her Metacorps (Cailee Spaeny) spend the last day of earthly existence on a self-healing journey to make amends and say goodbye An endless series of extended cameos, essentially a sketch film in a big story, sometimes works, but does nothing else afterwards continued.

It’s more of a fun exercise recently with a stacked cast than anything else, really. And when I mean “stacked cast”, I really mean”stacked cast”: Bradley Whitford, Olivia Wilde, Fred Armisen, Charlie Day, Helen Hunt, Nick Kroll, Finn Wolfhard, Logan Marshall-Green, Sharon Van Etten, Paul Scheer, Colin Hanks, Pauly Shore, I mean, you get The gist. Everything I mentioned is only there for three- to five-minute sequences where Liza remembers the time she spent with you or is forgiven for hurting you in some way. Some of them are entertaining, especially the sequences featuring Olivia Wilde, Bradley Whitford, Fred Armisen and Helen Hunt, while other sequences like Nick Kroll and Charlie Day fall flat on his face. However, what this picture really carries until the end is the indelible chemistry of Zoe Lister-Jones and Cailee Spaeny as Liza and Little Liza. Her Charm on the screen is grandiose, Spaeny is more carefree than the dark and grumpy Liza von Jones, who just wants to let off steam and forget about the end of the world. This film is another great remedy for Spaeny, who proves once again that she is one of the best aspiring actresses working today after saving Pacific Rim: Uprising from a total disaster, and that she is one of the Stars of the bad times of El Royale. She works with Jones here after being in Craft: Legacy, and so their Symbiosis seems surprisingly tangible from the very beginning, as they probably involve their own friendship in the Film.

As I mentioned, the rest of the cast is only available for tiny cameos, and you find it difficult to really make a good impression when Liza is walking around the streets of Los Angeles. I admit that I laughed a lot during the sequence where Paul Scheer’s character is arguing with a neighbor at the end of the world, because this is the only parallel that Lister-Jones and Plonk do not make known to the current crisis of time. Conspiracy theories have become common recently. They have hurt more people than they have done them any good, and these images show the total disillusionment that people experience when faced with catastrophic events. As in recent times, It was The Apocalypse (almost!). Hordes of toilet paper were bought, mass hysteria in grocery stores, total panic from all walks of life, until we were rationalized and accepted our “new normal”: life will never be the same again. At that moment, Liza realizes that life will never be the same again and accepts the fact that she (and the rest of the world) will not exist at 2 a.m. when the meteor hits where it reaches its peak and becomes a better Movie than he originally imagined.

Since most of the sequences feature awkward and awkward parts of the comedy (especially Charlie Day, who is high on an not-known substance doing his usual High-Tick), the ending seems mostly to be a reminder to hold on to the most precious things in our lives. The scenes with the parents of Bradley Whitford and Helen Hunt are of great importance because they give their comic situations a more human quality. A classic sequence starring Olivia Wilde uses overlapping Safdie-style dialogue techniques with great comic effect. These scenes, combined with the sumptuous 35 mm camera of Daryl Wein & Tyler Beus, bring the necessary compassion to a Film that misses the point.

What do these scenes have in common? What is the lesson, other than holding on to the things that make us human, that Plonk not-known and Lister-Jones want us to learn from this film? With a duration of 83 minutes, the Film has very little time to develop these ideas and/or concepts at the end of the world. This is another mediocre eccentric apocalyptic comedy that is a little better than finding a friend for the end of the world, mainly for its aesthetic compositions and Performances, but not a comedy that many will remember throughout the week. After its premiere at Sundance, it has long been forgotten by better films like CODA and is now experiencing a resurgence. But this will not last long. There are much better movies to watch and those that there is much more to talk about and discuss than this one. Nevertheless, if you are looking for something that is at least mildly entertaining, as it could be for you in the end, although there are better comedies. A pretty harmless movie, if you ask me.

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