The End

This film won't be for everyone and plays like a theatre musical.

The cinematography however is quite beautiful and the tale a poignant one.

Set in a fancy bunker after a disaster with very few survivors a wealthy family and friends gets on with living life in ignorant bliss.

One day a stranger appears from outside who leaves them with more questions than answers who stirs up emotions.

Its a simple telling of the human condition and however create our own reality and bubbles to help hide or mask our deepest fears and worries.

Its a slow burn that peels away layers and gradually gives you clues into each characters background and personality. There is am eerie feel to the atmosphere which is suddenly lifted into a sweet musical stage show which is both unnerving and uplifting.

The songs are not huge dramatic musical numbers but more emotional story telling that give you an insight into what is really going on in these peoples heads.

7/10 very well done.

I really wanted to enjoy this musical comedy because writer/director Joshua Oppenheimer made one of the best documentaries I've seen-The Act of Killing. The ending with Anwar dry heaving on the roof remains one of the most memorable endings to anything ever.

I was amped to see his first fictional film here. It's a mixed bag sadly.

Firstly the pace is so slow and laborious that mid way through I was getting fidgety, there wasn't much drama or tension which for a film about a family living (?hiding) in a salt mine would generally generate something tense and foreboding. Sadly, it's absent here. Even the arrival of a black girl (!) would rock the apple cart but feels strangely anti-climatic.

The romance between her ('Girl') and George MacKay (' Boy') lacks chemistry and conviction.

At 2.5hrs it is too long and scenes go nowhere.

This outlandish premise may have been better helmed by Yorgos Lanthimos who would have injected much more humour and ' sickness'. In fact the weird characters reminded me of his own ' Dogtooth' .

The songs aren't that memorable and like ' Amelia Perez' would have been better suited by not featuring them at all. It doesn't add much depth to the characters situation.

Nonetheless, I admire Mr Oppenheimer's chutzpah in creating something different.

And he has got a decent supporting cast-it's great to see Lennie James, Tim McInnerny and Bronagher Gallagher all on screen for a change.

Not a film I loved but I liked and admired it.

Following a vaguely explained apocalypse, a married couple, their adult son and a tiny handful of servants have established a luxurious home in a salt mine, deliberately oblivious to whatever is happening in the world above. Under the controlling leadership of the patriarch (Michael Shannon) and his fearful wife (Tilda Swinton), they lead a comfortable existence. However, there are a multitude of relationship strains, past sins and guilt bubbling just below the surface. These all explode out into the open when a young woman somehow manages to find her way down into the mine. Her presence upsets the uneasy status quo that has sustained the sheltered "family" who have known no one but each other for at least two decades.

Much of the overlong film consists of monologues and the aftermaths as each character's house of lies is rawly exposed. While the stories and interpersonal tensions could be interesting, it's much too talky (maybe a better word is too verbal, since some of the monologues and conversations are sung, as if in a musical theater). Not much else happens, nor is the origin and sustainability of this outpost ever really explained - where does all the food and power come from? How did they acquire some of the world's great artwork to display on the walls of their elaborately furnished drawing rooms.

And why, oh why, did they bother with the musical numbers? If nothing else, they added to the film's excessive length. Tilda Swinton is a great actress, but she can't sing. Michael Shannon isn't much better at it. And neither makes any real effort to lip sync; though George MacCay as the son and Moses Ingram as the young woman do a decent job with the music.

In the end, it never really comes together well enough to fully explain who these people are and why they are the way they are. The film is visually stunning and expertly produced, but it's cold and unfulfilling - just as its characters are.

Ps. The streaming series Silo covers some of the same post-apocalypse territory, but does a far better job of portraying its underground isolation as a complete environment and society.

I went in with an open mind and the expectation that I might be about to watch something unconventional. The post apocalyptic bunker premise I found very intriguing and the cast were impressive given the film had such little publicity. Tilda Swinton has been involved in some really unique independent films over the last 5 years, and although I've not enjoyed them all, it's still a strong indication that if she's attached the film will at least be inventive

The End certainly isn't like anything I've seen before, but unfortunately I didn't find it an enjoyable 2.5 hours. It's a small cast working in a relatively small space delivering the story through words rather than action. This makes it feel drawn out, with just not enough variety to keep me engaged.

The singing was a surprise and is happening almost straight away once the film starts. The instrumental music was very stirring and big, but the songs were too slow paced for my taste. They didn't seem to be used to drive forward the plot or share any important new character details other than what you could otherwise pick up from dialogue and there were a lot.

I did enjoy the acting and the setting and I also thought some of the themes and metaphor was potentially interesting but they did seem to be working with a lot of big ideas on society, inequality, human connectedness, grief, regret. The whole gambit of human experience and global issues seemed to be hinted at at some point.

I only knew the premise of this film going in and felt perplexed as I exited the cinema. It took me a while to start processing what kind of story I have just been told. You can take many things from this. I will spare you any analysis but this film oddly lulled me into this hidden world with grey blue tones, anxious people, sumptuous decor and numerous paintings to, well, frame the story.

This was my second musical I have ever seen in the cinema and the first being Dancer In The Dark I think I have found pieces that accompany each other pretty well. I want to see this film again sometime and maybe do some rabbit hole research first so that I can spot the things I definitely missed first time.

Enjoy. It's a lovely film.