The End We Start From

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.

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.

I knew almost nothing about "The End We Start From" when I booked my ticket, no trailer, no poster even, it just worked out timewise so I took the plunge. Whilst the performances were pretty good, I'm less convinced of the point of the actual story.

A couple (Jodie Comer and Joel Fry) have a baby, just as the UK is in the early stages of an ecological crisis. Months of ongoing rainfall leave much of the country underwater and make the low-lying towns and cities uninhabitable. They travel north, to the home of the parents of Fry's character (Mark Strong and Nina Sosanya) but as the rain continues to fall, their supplies dwindle, and the population slowly begins to get desperate.

I'd say I appreciated the film, more than I actually liked it. It's dragged along by another virtuosa performance from Jodie Comer, who is in virtually every scene. She's ably supported by Fry though, who abandons his usual comedic turns for something altogether more haunted. The really strong supporting cast also include roles for Katherine Waterston, Gina McKee and a cameo from Benedict Cumberbatch. It's a very British version of this sort of story and the scenes of London devastation brought to mind "28 Days Later". You can tell how serious things are becoming when we won't form an orderly queue for emergency supplies.

I'm not really sure what it was in service of though. I feel like there must be a bigger theme that I'm missing, I suspect that it's perhaps loss and coping mechanisms, as we're told later in the film that Comer's characters parents recently passed away, and she's not really dealt with it. Generally, the story feels like a largely unconnected series of vignettes though and it was, for me, lacking some moment of ultimate revelation. I wonder if, in the book, it's easier to tie a connection between the commune's decision to abandon life as it was, in comparison to her decision to have a baby as way of dealing with her parents' death. Maybe I'm way off though.

So, lots to admire about this, but not a whole lot to love and I can't imagine that I'll ever see the need to watch it again.

Society is thrown into chaos after a natural disaster, a woman faces a huge challenge to keep her new born baby safe.

It's a film that's hard to hate, but virtually impossible to love, it promised so much, but offered relatively little.

It's a disaster story, but not a disaster movie, the focus is very much on the mother, and motherhood, we learn relatively noting about the disaster, it's just a talking point for that most part.

You can't argue with the acting, Jodie Comer and Joel Fry are both very good, but the script could have been a little sharper, and a bit more interesting, it's a little disjointed.

It's watchable, it has some interesting elements, but ultimately it was a little disappointing, and that ending, it reminded me of that hilarious ending from The Day after tomorrow.

Mehhh.

6/10.

This is Jody Comer's film throughout: the camera hardly leaves her from start to finish. Its a low-budget disaster/dystopia movie with some obvious references to climate change and how it could impact on ordinary people and society. The End We Start From isn't a classic disaster movie with overused CGI, a cast of thousands and a budget running into several hundred millions (thankfully) Its an insular, intimate portrait of one woman and her newly born baby trying to survive a terrible natural disaster and on this level, it largely works.

Comer gets some sterling, if fleeting acting support from Joel Fry, Katherine Waterson, Benedict Cumberbatch and Mark Strong, yet every scene is a platform for her acting ability. Sometimes she says nothing at all, just shows some wonderful maternal love and support for her infant and displays a naturalistic presence in the face of hopelessness.

The movie itself is sparse to say the least. It just about gets across the message of how things could be in this type of situation. However, many scenes are far too abstract and simplistic. A little more context is required, even just a background radio giving out emergency bulletins or a broken road sign along a soggy road to give some geographical placing. Society breaks down, as it inevitably would and the Brits show their legendary stoicism, but it's all on one level, not much horror and no humour - both essential in any successful disaster, dystopian movie; it borders on the boring.

In the end the excellent Comer pulls it through.