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‘Do Not Expect Too Much From the End of the World’ Review: A Wild Romanian Trip

In Radu Jude’s shambling, acidly funny movie set in Bucharest, a foul-mouthed gofer named Angela tours the troubled heart and soul of her country.

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By Manohla Dargis

Late in Radu Jude’s “Do Not Expect Too Much From the End of the World,” the movie shifts tones. Our heroine, a funny, foul-mouthed gofer who’s racking up miles driving in Bucharest, has just told her passenger about a road outside the city that has more memorials edging it than it has kilometers. The movie then cuts to one after another roadside memorial — some stone, others metal, some with photos, others with flowers — for an astonishing four silent minutes, and this near-unclassifiable, often comically ribald movie turns into a plaintive requiem.

The woman, Angela — the sneakily charismatic Ilinca Manolache — is a production assistant toiling for a foreign company that’s making a workplace safety video in Romania. Among her tasks is interviewing men and women who have been injured on the job, the idea being that one will make a camera-friendly cautionary tale for workers. As she changes gears, and the movie switches between black-and-white film and color video, Angela flips off other drivers, acidly critiques all that she encounters, creates TikTok videos and effectively maps the geopolitical landscape of contemporary Romania. At one point, she meets the German director Uwe Boll , who’s known to have trounced a few of his critics in boxing matches.

I don’t think that Jude wants to beat up critics (even if the interlude with Boll, who’s shooting a “bug-killer film,” is almost endearing); among other things, his movies tend to be well-received. Jude’s shaggy provocation “Bad Luck Banging or Loony Porn,” for instance, earned high praise as well as top honors at the Berlin Film Festival in 2021. At the same time, there’s a pushy, borderline abrasive aspect to how Jude strings out Angela’s time behind the wheel in “Do Not Expect Too Much From the End of the World,” forcing you to share in her tedium. The movie is overflowing with ideas — about history, capitalism, cinema, representation — but it also tests your patience before amply rewarding it.

It’s still dark when Angela stumbles out of bed one early morning, naked and cursing. (One of her favorite expletives is featured both in the first and final words in the movie, a fitting bookending blurt that seems like a cri de coeur and one of the movie’s more unambiguously authorial statements.) Before long, she’s dressed and out in the streets, making the first in a series of TikToks in which she takes on the guise of her bald social-media avatar, a bro named Bobita, an extravagantly offensive vulgarian who brags about hanging out with his pal Andrew Tate, the online influencer and self-anointed “king of toxic masculinity.”

Tate’s trajectory is lurid and gross, but the references to him are more symbolically than specifically germane to the movie. (Tate moved to Romania in 2017; he was arrested there in May 2023 on an assortment of charges, including human trafficking.) For Angela — for Jude — Tate basically functions as yet another emblem of Bobita’s grotesqueness and of a larger worldview, one that has reduced everything to its market value. Everything is part of his unending hustle, including the Maserati he brags about owning, the women he boasts about sexually conquering and, of course, himself. “Remember,” Bobita says, “like and share!” With her avatar, Angela entertains her audience with a very sharp sting.

The same can be said of “Do Not Expect Too Much,” which gradually gathers shape and force as Angela motors around Bucharest. As she does, Jude cuts between her and the title heroine of “ Angela Goes On ,” a 1981 Romanian film directed by Lucian Bratu about a taxi driver. Produced in the waning years of the Ceausescu dictatorship , the earlier film serves as a fascinating counterpoint to Jude’s movie visually and thematically. (The opening credits announce that this movie is a “conversation” with the 1981 film.) From one angle, not much has changed, but if the roads are still jammed and people hungry, it’s now capitalism rather than communism that keeps this world busily spinning.

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‘do not expect too much from the end of the world’ review: radu jude’s freewheeling feminist satire.

For his new feature, which premiered in competition at Locarno, the Golden Bear-winning auteur focuses on two women fighting the patriarchy in Romania's past and present.

By Jordan Mintzer

Jordan Mintzer

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Of the handful of directors who make up the Romanian New Wave, which kicked off two decades ago and is still going strong, Radu Jude is perhaps the most radical and exuberant — something like the movement’s Jacques Rivette or Jacques Rozier. He’s made everything from a coming-of-age comedy ( The Happiest Girl in the World ) to an historic western ( Aferim! ) to a bleak period drama ( Scarred Hearts ) to a contemporary sex satire ( Bad Luck Banging or Loony Porn , which won Berlin’s Golden Bear in 2021).

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Both characters are called Angela, and both spend a lot of time riding around the city. In the old film, Angela (Dorina Lazar) is a cab driver trying to make ends meet under dictator Nicolae Ceaucescu’s stifling regime, and she’s clearly one of the only women who holds such a profession at the time. In the modern-day story, Angela (Ilinca Manolache, a Jude regular) is a production assistant for a company specializing in ads and corporate videos, working long hours doing whatever they tell her to do.

Their trajectories are similar, as is the fact that they struggle under a powerful patriarchy, whether it’s communism in the 80s or today’s corporations and Orthodox church. But there’s also a key difference: The contemporary Angela is more outspoken, telling off her bosses when they push her too far, or making lewdly satirical videos under the pseudonym Bobita, using a filter (of Andrew Tate!) to disguise her identity.

The movie also provides a meta-commentary on film itself, referencing Godard and Blow-Up , and offering cameos by renegade German director Uwe Boll and the actress who starred in the original Angela Moves On . As a PA, the modern Angela is at the very bottom of the ladder, serving as underpaid casting director for a video about workplace safety, swinging over to the airport to pick up the Austrian exec (an intimidating Nina Hoss) arriving to observe the shoot, and trying to get a nap in whenever she can. Her numerous TikTok sketches, which are purposely crass and confrontational, are the only way she can wrestle a little power away for herself, and she shoots them whenver she has a few free seconds.

For nearly two hours, Jude cuts between the past and present scenes, allowing one to slyly comment on the other in a sort of mirror effect. In the film’s third section, consisting of two long sequence shots from a fixed position, he switches viewpoints to that of the corporate video, where a worker (Ovidiu Pirsan) who was paralyzed during a freak on-the-job accident winds up turning against his company.

As is typical of the director, Do Not Expect Too Much ends inconclusively, offering no easy solutions for its two female protagnoists. We never find out what happened to the old Angela, while the new one keeps doing what she’s doing without achieving any major breakthrough either on TikTok or in her crappy day job. And yet the film gradually reveals how both women manage to reject Romania’s status quo, protesting either silently or out loud, all the while knowing they can never really change the system. Like Bobita’s videos, Jude’s freewheeling feature is an act of resistance in and of itself.

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This disappointing end-of-the-world sci-fi drama wastes a good cast

Breathe. MA15+. Two stars.

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An all-star cast stare down the end of the world in Netflix's new drama, from American director Stefon Bristol, that plays on our fears of climate disaster.

It feels like a bit of a waste to hire expensive and photogenic Hollywood actors like Jennifer Hudson, Quvenzhane Wallis, Sam Worthington and Milla Jovovich and then have their pretty faces hidden behind breathing apparatus for most of the film.

But the filmmakers made that noose for their own necks, setting their film in a world where climate change has killed all plant life and the few remaining humans need respirators to breathe.

A few decades into the future in the Bronx, a lone family survive beyond the end of the world.

Engineer Darius (Common) saw the end of days coming and had been working on a survivalist shelter kitted out with hydroponics and air filtration systems, and so he along with wife Maya (Jennifer Hudson) and daughter Zora (Quvenzhane Wallace) endure.

Maya has specialised in growing food, and young Zora has inherited her father's engineering mind. She is a natural problem solver, coming up with tweaks for the technology that is keeping them alive almost as quickly as age and wear and tear can cause it to break.

Darius leave the safety of the compound one day and doesn't return. After some months worrying about him, Maya and Zora are faced with a new challenge - a group of survivors from another shelter in Philadelphia arrive, begging to be let in to safety and wanting Darius to come with them to fix their own technical issues.

Tess (Jovovich) claims to have been a colleague of Darius's before the world turned, and she brings with her Lucas (Worthington) and Micah (Raul Castillo) for protection. But are the three newcomers who they claim to be, and should the women risk their safety in trusting them?

I'm a big fan of everything this film is trying to be - a big fan of disaster movies, a big fan of nihilist apocalyptic drama - but I don't know that I came away a fan of Bristol's work here.

While the acting is top-notch, there's no sense of spectacle, and the action scenes are few and far between.

There's a well-done scene-setting visual of the devastated New York harbour, but the rest of the film is shot in small enclosed locations, like maybe the casting budget ate away money that could have gone on a bit of CGI.

I love the Will Smith end of the world drama I Am Legend , set in the same neighbourhood as this film, and these two films do share a bit of design aesthetic, with Bristol's set designers putting lush work into the swanky survivalist pad the family inhabit.

But the sense of menace here comes not from zombies but from other humans and as the intruders, Jovovich, Worthington and Castillo get the best of the scenery-chewing.

Worthington plays a role that feels familiar - he started his career playing greasy-haired thugs - and we're used to Jovovich kicking intergalactic butt in sci-fi films so this role is a little more restrained.

The standout of the film is Wallace who was a very young Oscar nominee with Beasts of the Southern Wild and starred in the 2014 remake of Annie .

It's a pity the screenplay by Doug Simon doesn't quite get the tone right, spending a lot of time establishing the supportive family environment when we can all see what's coming a mile off.

Cinematographer Felipe Vara de Rey Zora throws an orange lens on the outdoor scenes to remind us how desolate the world is, feeling a bit like the Val Kilmer Mars film Red Planet.

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• Tri-Star Pictures/Terminator 2: Judgment Day, Sony Pictures Releasing/28 Days Later, 20th Century Fox/Independence Day

The Best "End of the World" Movies, Ranked

Before armageddon arrives, let's dive into the thrilling world of doomsday flicks! This crowd-ranked list of the best “end of the world” movies is sure to keep you on the edge of your seat. With input from thousands of film buffs, these movies showcase the ultimate scenarios where humanity faces its greatest challenges. Vote for your favorite doomsday or post-apocalyptic films and see which ones rise to the top. You’re in for a wild ride through some of the most intense and imaginative stories ever put on screen.

From pandemic-ravaged cities in 28 Days Later to relentless zombie mayhem in Zombieland , each movie brings its own unique ap vision to life. Terminator 2: Judgment Day delivers a heart-stopping blend of action and sci-fi elements with a high-stakes battle for humanity's future. On the other hand, The Day After Tomorrow explores catastrophic climate change, taking viewers through spine-chilling natural disasters. Fan favorites I Am Legend and Mad Max: Fury Road each present different post-apocalyptic wastelands; one grapples with isolation amidst mutated creatures, while the other thrusts you into a high-octane desert dystopia. The satirical yet nail-biting Don't Look Up provides a clever commentary on society’s response to impending doom. These films stand out not only for their thrilling plots and captivating characters but also for their diverse storytelling approaches to tales about the apocalypse.

Get in on the action and help shape the ultimate list of doomsday movies. Cast your votes for the apocalyptic that kept you hooked and the harrowing tales that made you think. Your opinions matter – let's see which good films become the undisputed champions of the end-of-the-world genre. 

28 Days Later

In a world ravaged by a highly contagious "rage" virus, survival becomes the ultimate challenge for those not yet infected. Danny Boyle's heart-pounding thriller captures the intensity, panic, and despair that accompanies an unstoppable pandemic. From empty London streets filled with dread to heart-stopping encounters with the "infected," this film doesn't shy away from showcasing the darker side of humanity when faced with annihilation.

• Released : 2002
• Directed by : Danny Boyle

Terminator 2: Judgment Day

James Cameron's sci-fi masterpiece continues to captivate audiences to this day through its thrilling story, groundbreaking special effects, and nail-biting suspense. Arnold Schwarzenegger reprises his role as a fierce machine sent back in time to protect humanity's only hope for survival against an even more advanced Terminator. The stakes couldn't be higher, and the ensuing epic battle makes for cinematic perfection, leaving little doubt as to why this sequel has become synonymous with doomsday films.

• Released : 1991
• Directed by : James Cameron

When it comes to combining humor with a dangerous post-apocalyptic world overrun by zombies, this film knocks it out of the park. With a killer cast, cleverly inventive rules for surviving a zombie-infested America and some truly memorable moments, every viewer's left with an oddball sense of enjoyment amidst a bleak setting. Not only is the movie funny and scary at times, but it also manages to be oddly heartwarming as our ragtag group of survivors creates an unconventional family of their own.

• Released : 2009
• Directed by : Ruben Fleischer

Independence Day

Packed with jaw-dropping visual effects, Will Smith's undeniable charm, and patriotic themes, this action-packed blockbuster captivates viewers from start to finish. When Earth comes under attack by technologically superior extraterrestrial beings, humankind is forced to band together in an all-out effort to save their planet from total destruction. With pulse-pounding aerial battles and a triumphant climax, this doomsday tale is as American as apple pie and worth every spectacular frame.

• Released : 1996
• Directed by : Roland Emmerich

The Day After Tomorrow

In this awe-inspiring disaster epic from Roland Emmerich, viewers are faced with a chilling vision of Earth's future—an abrupt climate change that triggers catastrophic natural disasters enveloping the globe. From torrential storms to colossal tidal waves and unprecedented freezing temperatures, this film showcases the devastating consequences of a world unprepared for environmental catastrophe. Spine-chilling visuals and harrowing tales of human survival make this doomsday film both engaging and thought-provoking.

• Released : 2004

The Book of Eli

Journey through a desolate wasteland as a lone wanderer named Eli fights to protect the last remaining copy of the Bible that holds the key to humanity's redemption. As an unexpected hero, Denzel Washington delivers a powerful performance in this tale of faith, sacrifice, and perseverance amidst an unforgiving post-apocalyptic world. With its rich atmosphere, riveting story, and gut-wrenching action sequences, this film is an unforgettable addition to the doomsday genre.

• Released : 2010
• Directed by : Allen Hughes, Albert Hughes

‘A Murder at the End of the World’ Is a Riveting Murder Mystery

By Alan Sepinwall

Alan Sepinwall

In the opening scene of the new FX miniseries A Murder at the End of the World , a woman named Darby stands in front of a small bookstore crowd to do a reading from her true crime book The Silver Doe . She is very young, speaks haltingly, and seems determined to vanish inside her voluminous red coat and the hoodie she’s wearing beneath it. As she fumbles through her introductory remarks, audience members begin to stand up and leave, convinced that this odd person has nothing of interest to say. But then she notes that she’s spent a lot of time around dead bodies, begins reciting statistics about how many unidentified murder victims there are in the United States, most of them women, and mentions a Jane Doe that turned up on the edge of her town when Darby was 15. By this point, the customers are practically stampeding back to their seats, and they’re riveted as Darby begins to read from the book.

The second season was somehow even more bizarre, including a scene where the main character, played by Marling, is puppeteered by a malevolent, telepathic octopus. Again, not making this up:

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Mostly, though, there is Emma Corrin, previously best known for playing Diana in the Seventies and Eighties era of The Crown . The sleuth in this kind of whodunit has to shoulder a heavy load: onscreen nearly the entire time, delivering metric tons of exposition, reacting to new plot developments in ways that are apparent to the viewer but not always to the other characters, etc. Corrin gracefully handles all of this, and commands the frame throughout.

(*) While the genre all but demands a dour tone, the filmmakers are smart enough to occasionally allow some emotional color to peek into their icy world. Early on, for instance, we see Darby and Bill driving to the scene of what they believe was their target’s first murder, and they begin enthusiastically singing along to “No More I Love You’s” by Annie Lennox when it comes up on shuffle. It’s an endearingly light moment that provides welcome texture to the relationship, and keeps the show from being pure grimness for its own sake.  

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Mostly, though, this is a thrilling and compulsively watchable show. When Bill breaks up with Darby in the flashbacks, he leaves her a note explaining that their relationship was both “too much and not enough.” A Murder at the End of the World , though, is pretty much just right. Marling and Batmanglij may want to go back to the abstract stuff down the road, but it turns out they’re very good at coloring inside the lines when they want to.

The first two episodes of A Murder at the End of the World are streaming now on Hulu, with additional episodes releasing weekly. I’ve seen all seven.

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Film review: end of the world (2013).

Jesse 01/04/2020 Uncategorized

A group of Apocalyptic fanatics must use their knowledge of apocalyptic movies to save the world from a devastating solar flare.

Over the past few years, I have become exceedingly fascinated by the idea of bad movies. The low quality of the productions combined with the poor scripting helps to highlight the effort, fun, or lack thereof in the movies. With that said, it probably comes as no surprise that I would be drawn to the world of the SyFy channel. The place is a hub for movies like Sharktopus and Battledogs. They are not the only place to discover this type of film but they are undoubtedly the most well-known. The phrase “SyFy original movie” has become synonymous with these movies. All of this is to say that I was excited to learn that I would get to watch and review the SyFy movie End of the World, a movie right in my wheelhouse.

This movie follows the same basic plot structure that many other SyFy movies follow; there is a disaster, the main character goes on a road trip, and there is a last ditch plan of insanity to stop the disaster. Owen (Greg Grunberg) is the owner of a science fiction video store. When Earth is pummeled with electromagnetic space debris, he takes his coworkers and friends on a road trip to avoid the destruction. With his knowledge of disaster movies, and the help of Doctor Walter Brown (Brad Dourif), Owen attempts to prevent the titular End of the World.

To use a turn of phrase that will make me sound like your grandfather, End of the World is a hoot. The film is a blast to watch from beginning to end. There is an infectious feeling coming through the performances that helps to make it as enjoyable as it is. Greg Grunberg is having fun in movies of this style as of late (Big Ass Spider! is another example) and seems to have found a niche that he can capitalize upon in order to become a successful lead actor. He seems to love every second of screen time he gets and I am beginning to anticipate the presence of Greg Grunberg on screen. Alongside him is Mark Hildreth, playing his dastardly second cousin Max. Hildreth sneers and glares his way through End of the World with so much passion that you despise the character more every time he appears. That is how you perform the role of a bad guy who is just plain bad. Then there is Brad Dourif who turns in the best performance of the bunch. His portrayal of a former government employee who may or may not be insane has layers of many of his past performances as well as many John Malkovich style mannerisms. To say I enjoyed watching him would be to undersell his performance. The actors are not the only good thing about End of the World, however.

The concept of an avid movie fan using their knowledge of tropes and clichés in an attempt to save the world is one that hits home for people who watch movies on a regular basis. Which of us would not want our memories of the films we admire to be used for saving lives? I love the idea that watching movies can translate into use in hands-on situations. End of the World helps to perpetuate this idea, leaving me with a little bit of internal giddiness and glee that I could someday prevent a disaster by having watched WarGames. But (and this is a big but) End of the World could have gone about this conceit in a better way. Each time that the characters thought up a way to get out of a dangerous situation, they felt the need to mention what movie they were referencing and explain why they were referencing it. This may be true to reality where people talk that way; nevertheless, in a film setting it can take a viewer out of the tense situation and remind them of how derivative what is happening actually is. A movie built on homages can be entertaining. A movie built on direct references feels stale and frustrating. That might sound a little bit hypocritical. Look at it like this. A movie fan who will understand the homages and references, and appreciate them would not need the explanations. Since the inclusion of these details would primarily be used to entertain the fans it stands out when they are needlessly explained.

A few other things in End of the World stood out. At one point, a character said that the guy in Heroes was in a movie they were watching. That was a nice in-joke to Greg Grunberg where they did not feel the need to say that it was Greg Grunberg, and was a good instance of writing in a reference without the extended explanation of it. There was also a moment where they were listing off disaster movies and the characters mentioned another SyFy movie called Snowmageddon. It surprised me that they would mention a bad film that I have actually seen as a means to solving the disaster that they were currently experiencing. Yes, it was a shameless plug for another SyFy production, but it was an interesting namedrop all the same. How many people have actually seen the movie? Not too many, I’m guessing. Finally, the movie brings up the idea that the disaster itself is not the only danger when the world is potentially going to end. Random strangers are as big a danger. It is an interesting concept that never becomes fully realized. If a little more was written into that idea, the movie could have had some deeper meaning.

As it is, End of the World is a fun little SyFy movie that does not strive to be more than mindless entertainment. Filled with amusing performances, call-backs to the films you love, and a plot that keeps chugging along, it is a pleasant way to spend an hour and a half. If you see it playing on your television listings, check it out. It deserves that much.

Tags Brad Dourif Caroline Cave David Ray End of the World Greg Grunberg Jason Bourque Mark Hildreth Neil Grayston Steven R. Monroe

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This is an amazingly hilarious and valid review. This movie is ridiculous in its ability to play on tropes and fun humour. I hate it so much but I keep watching it.

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20 Best End-Of-The-World Movies for When You're Feeling a Wild Ride

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World-ending movies also are a mirror that reflects society’s biggest paranoias back at us. For the movies of the '50s, there was unease about the dawn of the Atomic Age. In the '80s, the disaster was almost always caused by an impending nuclear war between the United States and Russia. And there are always lingering doubts about what exists in outer space, and whether unconquered forces of nature can end us at any moment — be it via comets set to collide with Earth, a sun ready to expand its borders in our solar system (or stop working entirely), or, you know, aliens. These impending disaster movies span decades, so you can take in the various neuroses we’ve had over time.

The Wandering Earth (2019)

One of the biggest, highest-grossing movies of 2019 is actually this end-of-the-world movie that few people have heard of. That's because it's huge in China, where it was made — but U.S. movie-watchers can see it now thanks to Netflix. It follows the disaster-movie mold, chronicling a group of scientists who seek to physically move the Earth to get it away from the ever-expanding sun, while avoiding collision with Jupiter.

RELATED: The Most Popular Scary Movie the Year You Were Born

These Final Hours (2015)

In this one, a comet does succeed in colliding with Earth, as it's threatened to do so many times before (see also: Armageddon and Deep Impact ). The film takes place 10 minutes after impact, when Australia has about 12 hours before the firestorm reaches the country. It follows James, who wants to spend his remaining time at the "party to end all parties," but finds himself being pulled in other directions.

This Is the End (2013)

Is it possible to make a comedy about the apocalypse? Seth Rogen tries, in a movie where people like James Franco, Jonah Hill, and Jay Baruchel play exaggerated versions of themselves amidst the looming disaster.

Seeking a Friend for the End of the World (2012)

An asteroid is headed towards Earth, and Dodge (Steve Carrell) and Penny (Keira Knightly) decide to try and reunite Dodge with a lost love before it hits. Along the way, they meet others who are dealing with impending doom in their own unique ways.

Melancholia (2011)

Kirsten Dunst plays a bride whose wedding reception is interrupted by the discovery of a planet named Melancholia — one that's on a collision course with Earth. What follows is a movie that's ostensibly about the end of the world, but is also a rumination on chronic depression.

Take Shelter (2011)

What if the end of the world is on its way, and you were the only one who knew? In Take Shelter Curtis LaForche (Michael Shannon) has a premonition of what's to come, and runs into trouble when he becomes obsessed with building a storm shelter to prepare.

Retreat (2011)

A married couple looking to reconnect decides to go away for a vacation on a remote island off the coast of Scotland. Their holiday is interrupted by a soldier who shows up at their doorstep and says that the outside world has been decimated by an outbreak of an airborne disease, and they must hide out together until it's safe to go into the outside world again. But is he telling the truth?

Legion (2010)

This one is about the end of the world in more Biblical terms. In it, Paul Bettany plays the Archangel Michael, who seeks to stop evil forces from bringing about the apocalypse.

The Road (2009)

Based on the book by Cormac McCarthy , this film follows a man and his son who try to survive in a post-apocalyptic world. They avoid violent scavengers and other evils as they make their way down "the road," trying to head toward the coast where it might be warmer.

Daybreakers (2009)

In this movie, a plague transforms humans into blood-thirsty vampires — and it's so widespread that there are few humans left to feed off of. A cure might be out there, if anyone can stay alive long enough to spread it.

Knowing (2009)

A professor (played by Nic Cage!) retrieves a code that was buried in an elementary school time capsule, and he believes he's cracked it — and it's a message about the end of the world. He has to figure out if he's right, and if the impending disasters can be stopped.

Sunshine (2007)

This is another one where the sun is the main culprit, causing the end of the world. This time, the sun is dying, and a group of scientists go on a space mission to try and re-ignite it with a bomb. (What could go wrong?)

Children of Men (2006)

In this movie, civilization is on its last gasp as a pandemic somehow caused a global infertility crisis. But when a woman is discovered to be pregnant, she must be safely transported to a team of scientists working on a cure without her secret getting out.

Right At Your Door (2006)

A man sits at home when he hears over the radio that it's possible that dirty bombs have been detonated in Los Angeles. Everyone's advised to seal up their doors and windows and quarantine themselves. The man listens — and then his wife returns from work. Should he risk contamination to let her in?

The Day After Tomorrow (2004)

In a movie that embodies the term "climate crisis," extreme weather breaks out across the country — from tornadoes to deep freezes. In New York, a group of survivors huddles in the New York Public Library and start to work toward their rescue.

Last Night (1998)

It's never explained why the world is ending in this Canadian film, but what's clear is that there's only one day left. All of the characters have to figure out what they want to do on their last night (celebrate Christmas, perhaps), and who they want to share their last moments with.

12 Monkeys (1996)

A deadly virus wipes out the world, causing a few survivors to go underground. Bruce Willis is tasked with traveling back in time to find the source of the epidemic in the hopes that it could be reversed. If you like this film, you could also try La Jetée , the French film it was based on.

The Rapture (1991)

David Duchovny and Mimi Rogers star in a movie about a woman who abandons her swinger lifestyle and turns towards religion when she starts to see signs that the Rapture is on its way. Could she be right?

Miracle Mile (1988)

Anthony Edwards and Mare Winningham star as Harry and Julie, a who suffer a missed connection at the worst possible time — right before the breakout of a nuclear war between the United States and the Soviet Union. The film follows Harry as he tries to find Julie before the world ends.

The Quiet Earth (1985)

For fans of The Leftovers, this is a movie about a scientist (Bruno Lawrence) who wakes up and realizes the people of Earth are all gone — and thinks the energy project he was working on may have been to blame. He then goes in search of other survivors.

Marisa (she/her) has covered all things parenting, from the postpartum period through the empty nest, for Good Housekeeping since 2018; she previously wrote about parents and families at Parents and Working Mother . She lives with her husband and daughter in Brooklyn, where she can be found dominating the audio round at her local bar trivia night or tweeting about movies.

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A subgenre of science fiction and disaster films, end of the world movies depict natural disasters, nuclear wars, pandemics, asteroid impacts, or other catastrophic events that threaten the survival of humanity. They often feature a large-scale disaster or event and include elements of survivalism as the characters try to find ways to exist and rebuild society. They exhibit the bravery and resilience of the human spirit in the face of extreme adversity.

However, the golden age of the end of the world or apocalypse cinema began in the 1950s during the Cold War arms race and space race between the U.S. and the Soviet Union. Later, in 1968 George A. Romero’s low-budget horror Night of the Living Dead established the many tropes of modern apocalypse narratives. From George Miller and James Cameron to Michael Bay and Roland Emmerich, narratives of impending apocalypse drove millions of audiences to theaters, seeking hope in the bleakest of scenarios.

So here’s a look at the 25 best ‘end of the world’ movies. The list doesn’t solely focus on blockbuster disaster narratives. It also includes films that realistically reflect the anxieties of the nuclear holocaust and climate-change era:

The Best End of the World Movies

25. war of the worlds (2005).

Amid the destruction and chaos, the dysfunctional family tries to reconcile and survive. Spielberg’s previous movies, such as Close Encounters of Third Kind (1977) and E.T. (1982), gave us friendly aliens. But, in War of the Worlds , we see the terror of an alien invasion destroying humanity. Nevertheless, the film ends on a hopeful note, suggesting that even catastrophic events cannot wipe out humanity from the universe.

Where to watch: Prime Video, Apple TV

24. 28 days later (2002).

Image Source: IMDb

After surviving the shocking assault of the infected, Jim teams up with other survivors in order to find a safe haven. But their odyssey pushes them to confront several horrors. In fact, fellow human beings seem more intimidating than the mindless horde of infected. Jim wandering around an empty London is one of the many iconic moments in the film.

Where to watch: Apple TV

23. contagion (2011).

Contagion follows a diverse group of individuals who are impacted by the viral plague. Some, such as the characters played by Matt Damon, are ordinary people who face devastating consequences in their everyday lives due to the pandemic. Other characters, like those played by Kate Winslet and Marion Cotillard, put themselves in harm’s way to save humanity from the deadly plague. In summary, Soderbergh’s film effectively showcases the ripple effects of a viral infection in a globalized world.

Where to watch: Prime Video

22. take shelter (2011).

The storm does strike their small community. However, it isn’t as bad as he’d feared. Jeff Nichols raises several questions about our fear and paranoia regarding end times: Is Curtis a prophet? Or does he need to be institutionalized? But Nichols leaves us with an ambiguous final shot which only raises more questions. Take Shelter largely works due to the heartbreaking performance of Michael Shannon, who subtly realizes Curtis’ internal emotional struggles.

Where to watch: Hulu

21. miracle mile (1988).

He’s also suspicious whether he’s really heard the information or is it just a prank. Miracle Mile opens like a rom-com as central character Harry , a jazz musician, misses a date with a diner waitress. Soon, it turns into a brilliant race-against-time narrative. Unfortunately, the film failed at the box office and was even underappreciated in cinephile circles.

20. Testament (1983)

Mother Carol Weatherly (Jane Alexander) and her three young children are cut off from civilization. The father doesn’t return home from work. Testament doesn’t have the kind of narrative conflict we usually expect in the end of the world movies. In fact, most of the violence and looting happen off-screen. It’s rather a heartbreaking portrait of surviving in uncertain, bleak times. Jane Alexander’s phenomenal performance won her a Golden Globe and an Oscar nom.

Where to watch: Archive.org

19. the road (2009).

The reason for the apocalypse is kept ambiguous. The narrative simply uses a depressing atmosphere to create an unsettling mood, rather than resorting to zombies or alien creatures. Writer/director John Hillcoat largely used the post-Katrina, New Orleans for this end of the world story.  The computer-generated imagery was employed in small portions to enhance the bleakness of the surroundings. The film features brief cameos from Robert Duvall and Guy Pearce.

Where to watch: Tubi, Apple TV

18. a quiet place (2018).

The survivors, including the Abbott Family, eke out a meager existence in silence. They share tender moments, despite the loss and sense of looming fear. Of course, love, determination, and resilience endure even when the world is coming to an end. The tense prologue brilliantly sets up the dangers awaiting the Abbots in the alien-infested world. A Quiet Place derived its horror elements from classic Hitchcock stories and Steven Spielberg’s Jaws . The big set pieces in the narrative are not only imaginative, but also emotionally engaging.

Where to watch: Netflix, Prime Video

17. melancholia (2011).

Despite the impending doom, the entire family gathers to celebrate Justine ’s wedding party. The party is planned at Claire ’s vast mansion. The dance of death between two planets unfolds in the background. But in the foreground, we witness the distressing inner conflicts of the humans as they process the apocalypse. Melancholia was part of Von Trier’s unofficial Depression Trilogy , which explored the darker sides of the human condition. The eerily beautiful cinematography offers an incredible movie experience.

Where to watch: Hulu, HBO Max

16. 12 monkeys (1995).

However, the faulty time travel device and other complexities deeply unsettle Cole and make him question his sanity. 12 Monkeys is a distinct apocalypse movie with a brilliant time-travel twist. Parallels could be drawn between the film’s viral plague paranoia and the current pandemic. Gilliam’s film features outstanding performances from Bruce Willis and Brad Pitt (who was nominated for a Supporting Actor Oscar).

Where to watch: Amazon Prime Video

15. train to busan (2016).

The volatile and dreadful situation also tests the characters’ true nature as some succumb to selfish acts, while others rely on compassion and teamwork. The film’s ensemble cast includes the incredible performers Gong Yoo and Ma Dong-seok. A sequel, titled Peninsula , was released in 2020, but it received a tepid response.

14. Planet of the Apes (1968)

The three surviving astronauts walk through the desolate wasteland and soon come across a society ruled by the apes. In this world, humans are primitive and have lost the power of speech. They are killed, enslaved, or used for scientific experiments. Planet of the Apes was one of the most interesting mainstream films to reflect the fear of nuclear holocaust. Moreover, it doesn’t offer any false hope or easy resolutions. The twist ending is, in fact, one of the most memorable in the history of cinema.

13. Invasion of the Body Snatchers (1956)

The family members of the patients confess that they have recurring dreams of imposters replacing their loved ones. Soon, the doctor realizes that there’s an explainable reason behind this fear. Furthermore, he discovers that an alien race is taking over human bodies.  It’s a fascinating allegory of McCarthyism and the Red Scare. Philip Kaufman made an equally brilliant remake in 1978.

Where to watch: Plex

12. when the wind blows (1986).

Little do they know that all preparations would be rendered futile in the face of a nuclear holocaust. In fact, that’s what the story is all about. It painstakingly takes us through the elderly couple’s suffering and deterioration as a bomb drops in London. It’s hard to hold back tears as the radiation sickness gradually dissolves the couple’s resilience.

Where to watch: Tubi

11. mad max franchise (1979- ).

The big-budget Hollywood reboot starring Tom Hardy and Charlize Theron fascinatingly updated the premise with timely themes and riveting action sequences. Fury Road (2015) subtly showcased the terrors brought upon by mankind in an authoritarian, ecosystem-destroyed world. Two Mad Max movies are set to release soon: a prequel Furiosa , and a sequel Mad Max: Wasteland.

Where to watch: HBO Max

10. dawn of the dead (1978).

Apart from the satirical layers, Dawn of the Dead features a thrilling story, strengthened further by wacky visual and make-up effects. In the mall, we observe a microcosm of American society, indoctrinated into an economic and cultural system that has lost all its relevance after the world’s end.  Zack Snyder remade the film in 2004, but with no meaningful subtext.

9. Shaun of the Dead (2004)

The premise of Shaun of the Dead is deliberately silly. Only the ‘end of the world’ pushes our titular character to own up to his faults and make amends. The film celebrates as well as mocks the zombie apocalypse story tropes. Besides, Wright’s clever audio-visual tricks make it a fun watch. Wright and Pegg’s splendid screenplay delicately balances humor and poignancy.

Where to watch: Vudu, Apple TV

8. the last wave (1977).

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Source: IMDb

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One of the alleged murderers, Chris Lee (David Gulpilil), is plagued with apocalyptic visions that signal the end of the world through a massive flood. In fact, the tribal rituals and belief in the violent hailstorm become central to the case. The Last Wave is an enigmatic drama that doesn’t conform to any genre conventions. Our contemporary climate concerns only lend the film’s subtext more weight.

7. Children of Men (2006)

In such a hopeless world, Theo (Clive Owen), an ex-activist and a world-weary bureaucrat, makes a hopeful journey. He takes up the duty of safely transporting a migrant woman named Kee (Clare-Hope Ashitey), who is miraculously pregnant. The mission, though proves to be very dangerous, transforms Theo from being cynical to an altruistic individual. What’s so memorable and haunting about this speculative sci-fi is Alfonso Cuaron’s gritty and engrossing mise-en-scène.

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6. Dead Man’s Letters (1986)

Where to watch: youtube, 5. wall-e (2008).

Despite its light-hearted and whimsical tone, Wall-E depicts a dystopian future with disturbing parallels to our present. The animation brilliantly portrays humanity’s increasing dependence on technology and detachment from their fellow human beings.

Where to watch: Disney Hotstar

4. threads (1984).

It unfolds against the backdrop of the Iran crisis, which escalates the threat of nuclear war between America and the Soviet Union. We follow several ordinary people who are ruthlessly pushed into a bleak scenario following the detonation of nuclear bombs around Britain. The film portrays the horrors of the circumstances in a visceral, matter-of-fact manner. It provides a close look at the slow breakdown of society once its infrastructure and chain of command are destroyed. The final third of the narrative is particularly bleak.

3. Night of the Living Dead (1968)

Night of the Living Dead , an independent horror shot in stark black-and-white, brings together a group of different-minded individuals trying to survive an impending undead apocalypse. They barricade themselves in an old farmhouse as flesh-eating zombies prowl outside and try to get in. Romero’s film was made during the Civil Rights Movement era. It offers ample socio-political commentary. The ending is particularly shocking.

2. The Sacrifice (1986)

Soon, there are reports of impending nuclear war, and Third World War seems imminent. What follows is a complex philosophical journey as Alexander ponders over a way to undo the man-made disaster. The Sacrifice is a majestic work of art that doesn’t follow any of the cinematic apocalypse scenarios. Tarkovsky’s intention was to make a timeless parable on the themes of existentialism, faith, and self-sacrifice. He not only succeeds in his quest but also gives us a masterpiece.

Where to watch: YouTube, MUBI

1. dr. strangelove (1964).

The preposterous conflicts in the power corridors and wacky political deadlocks make the nuclear holocaust an inevitable conclusion. The legendary Peter Sellers plays three roles in the narrative, including a wheel-chair bound ex-Nazi scientist. Dr. Strangelove has one of the most memorable movie endings of all time as a Major is seen riding a nuclear bomb.

What are your favorite end of the world movies?

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The 15 Best Post-Apocalyptic Movies After the End of the World

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Post-apocalyptic movies are uniquely bleak, but they can also be hopeful. No matter how bad society gets, these movies can inspire us and make us feel like it's never too late to recover and turn around.

Then again, some of the best post-apocalyptic films don't have happy endings at all. They show us the worst-case scenarios of the future and act as warnings against wasting what we currently have.

Whatever the case, I love end-of-the-world movies and I love imagining what I would do—as a nerd with no extraordinary physical capabilities whatsoever—in such scenarios.

Here are my picks for the best post-apocalyptic movies about the end of the world that are seriously worth watching.

Note: There's a lot of overlap between movies that are post-apocalyptic , disaster , and dystopian . For this article, I'm strictly focusing on movies that take place AFTER an apocalypse has devastated the world. That's the only criteria!

15. Retreat (2011)

Directed by Carl Tibbetts

Starring Thandiwe Newton, Cillian Murphy, Jamie Bell

Drama, Horror, Thriller (1h 30m)

5.8 on IMDb — 62% on RT

Imagine if society collapsed and you didn't even know about it. Carl Tibbetts ponders this question in his gloomy thriller Retreat , starring Cillian Murphy, Thandie Newton, and Jamie Bell.

Tibbetts' directorial debut takes place on a small and uninhabited island off the coast of Scotland, where an unhappy couple go to try and rekindle their marriage.

Then a bloody, half-conscious man washes ashore and informs the couple of an airborne disease that has broken out all over the world.

Argromoto Flu has a 100% fatality rate, but with the stranger's behavior becoming increasingly erratic, the couple begin to question its authenticity. Retreat is focused into a claustrophobic setting, made to broil in suspense under a dramatic score.

14. This Is the End (2013)

Directed by Evan Goldberg and Seth Rogen

Starring James Franco, Jonah Hill, Seth Rogen

Comedy, Fantasy (1h 47m)

6.6 on IMDb — 83% on RT

Seth Rogen and Evan Goldberg provide another knee-slapping comedy, this time taking place at the end of the world. This Is The End is particularly funny because all the actors play a not-quite-true-to-reality version of themselves.

A huge gathering of celebrities come together for a party at James Franco's house in Hollywood. Suddenly, an apocalypse of Biblical proportions erupts and traps a bunch of the guests in Franco's house, where cabin fever begins to brew.

James Franco, Jay Baruchel, Danny McBride, Jonah Hill, and Michael Cera team up along with star cameos from Emma Watson, Rihanna, Paul Rudd, Kevin Hart.... the list is endless.

This Is The End gets more and more insane as the movie goes on. Rogen clearly ran free with this story, and in turn, the audience have fun with it. A truly bonkers movie, devoid of any rules.

13. 9 (2009)

Directed by Shane Acker

Starring Elijah Wood, Jennifer Connelly, Crispin Glover

Animation, Action, Adventure (1h 19m)

7.0 on IMDb — 57% on RT

Here we have a seriously underrated animated film directed by Shane Acker and produced by Tim Burton—and as you'd expect from a Tim Burton production, this one can get pretty creepy at times.

In 9 , a scientist accidentally creates intelligent robots that become corrupted, which leads to the extermination of humans. That same scientist then sacrifices himself to create nine Stitchpunk dolls—each imbued with a portion of his soul—to stop the robots.

Voiced by the likes of Elijah Wood, Jennifer Connelly, John C. Reilly, and Christopher Plummer, 9 is a surprisingly dark and emotional journey that's visually fun and worth the ride.

12. I Am Legend (2007)

Directed by Francis Lawrence

Starring Will Smith, Alice Braga, Charlie Tahan

Action, Drama, Horror (1h 41m)

7.2 on IMDb — 68% on RT

In I Am Legend , Will Smith stars as the leading man... or should we say, the only man. A virus that was meant to cure cancer has wiped out the globe, making Robert Neville the last man standing in New York City. Well, him and some cannibalistic mutants.

Since Neville is immune to the virus, he spends his days hiding out with his dog, experimenting for cures and monitoring the radio for any signs of other survivors, all while avoiding the zombie-like "Darkseekers."

Francis Lawrence's sci-fi drama-thriller was a hit with action fans, immersing viewers enough to overlook the questionable special effects. Smith brilliantly carries the movie on his shoulders, making us long to reach out and end his incessant loneliness.

11. The Book of Eli (2010)

Directed by Albert Hughes and Allen Hughes

Starring Denzel Washington, Mila Kunis, Ray Stevenson

Action, Adventure, Drama (1h 58m)

6.8 on IMDb — 47% on RT

Decades after a nuclear apocalypse, a mysterious man is tasked with delivering a book to a location he receives in a vision.

Say what you will about the subject matter, The Book of Eli holds a special place in my heart for its themes of perseverence and holding fast to one's convictions in the face of opposition.

Is it a subtle film? No. But it's exciting! And Denzel Washington puts on a heck of a performance as Eli.

10. WALL-E (2008)

Directed by Andrew Stanton

Starring Ben Burtt, Elissa Knight, Jeff Garlin

Animation, Adventure, Family (1h 38m)

8.4 on IMDb — 95% on RT

WALL-E centers on WALL-E, one of many trash-compacting robots that were created to help clean up a world turned wasteland. But even though humans gave up on Earth long ago and took to the skies, WALL-E continues to roam the planet and clean.

Unlike most post-apocalyptic movies, WALL-E manages to be a rebuke against reprehensible human behavior—namely excessive consumerism and corporate greed—yet also wholesome and uplifting.

After EVE arrives to assess the planet for human habitability, we're taken on a lovely ride as EVE and WALL-E form a bond that ends up being one of the best love stories in cinema. This is peak Pixar, for sure.

9. Zombieland (2009)

Directed by Ruben Fleischer

Starring Jesse Eisenberg, Emma Stone, Woody Harrelson

Action, Comedy, Horror (1h 28m)

7.6 on IMDb — 89% on RT

After the world is taken over by a zombie outbreak, four strangers—named after the cities Tallahassee, Columbus, Wichita, and Little Rock—band together to take a road trip across America in search of refuge.

It sounds serious, but Zombieland is one of the greatest comedy zombie movies ever made. On top of being funny, it has a lot of heart shared between the characters as they work together.

Plus, there's a legendary cameo by Bill Murray. What more could you ask for? Zombieland is one of the most rewatchable movies, and it's a wonder that this all takes place in a world ruined.

8. 28 Days Later (2002)

Directed by Danny Boyle

Starring Cillian Murphy, Naomie Harris, Christopher Eccleston

Drama, Horror, Sci-Fi (1h 53m)

7.5 on IMDb — 87% on RT

A man wakes up 28 days after a contagious virus has devastated his country, turning people into raging monsters.

While 28 Days Later is full-blown horror, one thing sets it apart from other zombie films: its insistence on exploring the different facets of humanity in the face of catastrophe and despair.

There are some real human moments here, which heighten the thrills that much more and elevate 28 Days Later from just another zombie movie to one that's deep, insightful, and chilling.

7. Snowpiercer (2013)

Directed by Bong Joon-ho

Starring Chris Evans, Song Kang-ho, Tilda Swinton

Action, Drama, Sci-Fi (2h 6m)

7.1 on IMDb — 94% on RT

After a man-made catastrophe covers the entire planet in snow, the last surviving remnants of humanity are stuck aboard the Snowpiercer, a train that endlessly circles the globe.

Snowpiercer is stylish, packed with action, but more than that, philosophical. Using its unique setting, the film explores class warfare and inequality in a way that's both subtle and a gut-punch.

6. Mad Max: Fury Road (2015)

Directed by George Miller

Starring Tom Hardy, Charlize Theron, Nicholas Hoult

Action, Adventure, Sci-Fi (2h)

8.1 on IMDb — 97% on RT

It's hard to think of a post-apocalyptic movie that's more stylish than Mad Max: Fury Road . The character designs, insane vehicles, creative worldbuilding, and high-octane action sequences make for a film that's unmatched in terms of sheer entertainment value.

Directed by George Miller, Mad Max: Fury Road is essentially one long car chase across a desert wasteland as Max Rockatansky allies with Furiosa to escape—and later fight—Immortan Joe and his army.

Post-apocalyptic popcorn flicks are surprisingly uncommon, which makes this film all the more impressive.

5. 10 Cloverfield Lane (2016)

Directed by Dan Trachtenberg

Starring John Goodman, Mary Elizabeth Winstead, John Gallagher Jr.

Drama, Horror, Mystery (1h 43m)

7.2 on IMDb — 90% on RT

If you're a fan of suspense films that take place in one setting, 10 Cloverfield Lane should be high up on your watchlist.

A woman, after crashing in a car accident, wakes up in an underground bunker with two men who won't allow her to leave. Why? Well, they claim that the Earth is now uninhabitable to humans.

It's an edge-of-your-seat kind of film through and through, with a tremendously terrifying performance from John Goodman. He's the last person you want to be stuck with after an apocalypse.

4. A Quiet Place (2018)

Directed by John Krasinski

Starring Emily Blunt, John Krasinski, Millicent Simmonds

Drama, Horror, Sci-Fi (1h 30m)

7.5 on IMDb — 96% on RT

In the near future, the world is overtaken by bloodthirsty alien creatures who are blind but have ultra-sensitive hearing—to the point where they can hear the slightest noise from miles away.

A Quiet Place is a horror film with near-zero dialogue and maximum tension, forcing its characters to live in silence and use sign language for communication as they try to survive in this new world.

3. Children of Men (2006)

Directed by Alfronso Cuarón

Starring Clive Owen, Julianne Moore, Chiwetel Ejiofor

Action, Drama, Sci-Fi (1h 49m)

7.9 on IMDb — 92% on RT

Imagine a future where women can no longer get pregnant. A bleak future that'd be, wouldn't it?

Children of Men poses that premise with a twist: after 18 years of global strife, a refugee woman secretly gives birth to a son, and one man must protect her as he escorts her to a scientific facility.

With impeccable direction from Alfonso Cuarón and a strong lead performance by Clive Owen, Children of Men is a must-watch for anyone who wants a philosophical movie about humanity wrestling with its flaws in a hopeless world.

2. The Matrix (1999)

Directed by Lana Wachowski and Lilly Wachowski

Starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss

Action, Sci-Fi (2h 16m)

8.7 on IMDb — 88% on RT

If you identify as a geek, you've probably already seen The Matrix —but if you haven't, that's okay. All that means is you still have the privilege of watching this brilliant film with fresh eyes.

The Matrix is a shining example of a dystopian cyberpunk future founded on the aftermath of an apocalypse, and there's a lot of symbolism and thematic depth to dig through if you're into that sort of thing.

Watching it now may not be as impressive as catching it when it released in theaters, and it probably won't blow your mind because so many movies have copied it since. Even so, The Matrix remains one of the best of its kind and still holds up well.

1. The Road (2009)

Directed by John Hillcoat

Starring Viggo Mortensen, Charlize Theron, Kodi Smit-McPhee

Drama, Thriller (1h 51m)

7.2 on IMDb — 74% on RT

Be warned: The Road is a downer. The overall atmosphere, the subject matter, the themes explored, the character moments—it's all very mature, dark, heavy, and even hopeless.

Based on the book by Cormac McCarthy, The Road centers on a father and his young son as they trek across a post-apocalyptic wasteland.

They need to make it across the country to find safety along the coast, but their journey is impeded by roving bandits, rapists, cannibals, and all manner of others who have long lost their humanity.

The Road is a thoughtfully haunting film—one you'll be thinking about long after the credits—that's crafted for a deep impact. The horrific reality of it all is what makes The Road the best of the best post-apocalyptic movies of all time.

‘The Union’ Review: Old Friends Mark Wahlberg and Halle Berry Reunite in a Middling Spy Movie

Playing ex-flames who team up to save the world, the two leads have chemistry, but the movie lacks the personality to make their low-key screwball dynamic worth the hassle.

By Peter Debruge

Peter Debruge

Chief Film Critic

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• ‘The Union’ Review: Old Friends Mark Wahlberg and Halle Berry Reunite in a Middling Spy Movie 5 days ago
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Life peaked in high school for Mike McKenna ( Mark Wahlberg ), whereas then-sweetheart Roxanne Hall ( Halle Berry ) managed to escape dead-end New Jersey and travel the world. While he joined the local construction workers union, she joined the Union , a clandestine spy group about whom Roxanne blandly claims, “Half the intelligence community don’t know we exist, and the other half regret finding out.”

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Mike’s been drinking at the same bar ever since Roxanne dumped him, hoping she’d walk back into his life. “Is it as you imagined?” Roxanne asks when she does. “I dunno,” he says. “In my head, you were always wearing a bikini.” Just more evidence that the movie was made for 13-year-old boys, even if Wahlberg thinks he’s making this film for the blue-collar guys back home. What else could he mean when his characters says, “It’s nice seeing yourself reflected on-screen”? He’s not drinking martinis in a bespoke tuxedo, but this hardly feels like the representation that Hollywood’s been missing.

Wahlberg plays Mike as if he doesn’t want to do spy stuff, but the movie never gives him a convincing reason to come around. Maybe he would’ve joined the Union if Roxanne had been kidnapped, or if someone he knew (like Lorraine Bracco, wasted as his mom) were in danger, but as written, the character agrees because the actor playing him likes the idea. I suspect Wahlberg is also responsible for enlisting director Julian Farino (who has nearly two dozen “Entourage” episodes to his name). Comedy he can handle, but action doesn’t come naturally to the helmer, and it shows in set-pieces recycled from 007 and “Mission: Impossible” movies.

Once Mike agrees to join, the film compresses a two-week training program (already cut down from six months) into a trailer-length montage, during which he meets other Union members: top boss Tom Brennan (J.K. Simmons), combat pro Frank Preiffer (Adewale Akinnuoye-Agbaje), psych evaluator Athena Kim (Alice Lee) and an underused IT guy who calls himself “the Foreman” (Jackie Earle Haley). At times, “The Union” seems to suggest that all of these agents were once honest, hardworking stiffs like Mike — in which case, the organization’s name kinda makes sense — but if that were true, then Roxanne doesn’t fit the profile.

Or maybe she does. The trouble with “The Union” is that neither the film nor its characters have much in the way of personality, to the point it’s not even clear how they feel about one another. To reveal the villain would spoil a mild surprise, though it feels reasonable to complain about the cheap trick of insisting said baddie was once married to Roxanne. When all three characters are together, the movie intends to spark jealousy between Mike and his rival, but mostly it just freezes whatever chemistry had been heating up between the ex-high school sweethearts, as Mike finds himself friend-zoned.

In concept, there’s something inherently appealing about Berry and Wahlberg as action stars. Both have shone in the genre before: It’s hard to top Berry’s intensity in B-movie “Kidnap,” while Wahlberg does best in “Patriots Day” director Peter Berg’s real-hero portraits. In “The Union,” it’s easy to tell they’re being doubled by stunt people half the time, and when they’re not, neither actor looks very convincing — which is to say, instead of entertaining the notion that a Jersey boy can be a spy, it shatters the previously accepted idea that Wahlberg should play one.

Reviewed at Egyptian Theater, Los Angeles, Aug. 12, 2024. MPA Rating: PG-13. Running time: 107 MIN.

• Production: A Netflix release and presentation of a Municipal Pictures production. Producers: Mark Wahlberg, Stephen Levinson, Jeff G. Waxman. Executive producer: Jennifer Madeloff.
• Crew: Director: Julian Farino. Screenplay: Joe Barton, David Guggenheim. Camera: Alan Stewart. Editor: Pia Di Ciaula. Music: Rupert Gregson-Williams.
• With: Mark Wahlberg, Halle Berry, Mike Colter, Adewale Akinnuoye-Agbaje, Jessica De Gouw, Alice Lee, Jackie Earle Haley, J.K. Simmons.

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25 Movies About The End Of The World You Should Watch Next

For some, movies about the end of the world might hit a little too close to home while dealing with the ongoing COVID-19 pandemic. For others, however, a bit of post-apocalyptic entertainment can serve as some much needed escapism into a reality worse off than our own. Whether you are looking for a break from reality or just seeking an entertaining movie about the end of the world without any thought paid to possible real-life parallels, there are plenty of great options out there.

From zombie outbreaks to nuclear war, from barren wastelands to frozen planets, these movies all present worlds that once looked like ours but have now drastically changed and function by different rules. Nobody is safe in these post-apocalyptic stories . Each of these films either showcases the world ending or is set far into the apocalypse, long after civilized society has crumbled. Without further ado, here are 25 worthwhile options for your next post-apocalyptic movie night.

A bleak and realistic look at a post-apocalyptic future, 2009's "The Road" is a faithful adaptation of the Cormac McCarthy novel of the same name published three years earlier. Viggo Mortensen and Kodi Smit-McPhee star as a father and his young son attempting to cross the barren wasteland of what used to be the United States to reach the coast, not knowing if anything worthwhile awaits them there. The production design and locations chosen for the film result in one of the best-looking post-apocalyptic landscapes found in any end-of-the-world movie. Though none of the characters have names, the supporting cast of "The Road" is packed with stars in small roles, including Charlize Theron , Michael K. Williams, Garrett Dillahunt, Robert Duvall, and Guy Pearce.

The story of "The Road" is straightforward, but full of thematic subtext and thought-provoking questions about humanity and life both before and after the end of the world. The original score composed by Nick Cave and Warren Ellis is a thing of beauty that adds greatly to the overall experience of the film. The director, John Hillcoat, has worked a great deal with Cave and Ellis throughout his career. Hillcoat has directed music videos for their band, Nick Cave and the Bad Seeds, and directed two Westerns written by Cave and scored by Cave and Ellis: "The Proposition" and "Lawless."

"The Rover" is a 2014 post-apocalyptic film set in the hot and dusty Australian outback. The film was written and directed by David Michôd and based on a story by actor and filmmaker Joel Edgerton . The two worked together again in a similar capacity for 2019's "The King." Guy Pearce plays a rugged brute with just one straightforward objective: to recover his stolen car. Robert Pattinson gives a great performance as the filthy and possibly mentally challenged brother of one of the car thieves who winds up captured by Pearce. "The Rover" was Pattinson's first film following the end of the "Twilight" series that rocketed him to stardom, and the attempt to distance himself from the "pretty boy" persona he had accrued is clear and effective.

The setting of post-apocalyptic Australia might bring the "Mad Max" franchise to mind, but "The Rover" is no copycat. The film is set a full decade past the collapse of society and includes plenty of colorful details about the ways in which the world has changed, while keeping a realistic, dark tone. The story is on the more simplistic side, but the performances, setting, and world-building are all great, and the film is punctuated by brutal bursts of violence.

Invasion of the Body Snatchers

There are two distinct versions of "Invasion of the Body Snatchers" that are both worth watching; one from 1956 and one from 1978. The two tellings have myriad differences and each have their own strengths, but the late '70s remake surprisingly comes out on top as the more dynamic and exciting movie. "Invasion of the Body Snatchers" is not set far off in a ruined future like the previous two films on this list, but rather it shows the world beginning to fall apart as alien seeds fall from outer space and begin taking over humanity at an exponential rate. This end-of-the-world story blends together science fiction and horror elements to great effect.

Donald Sutherland, Leonard Nimoy , Jeff Goldblum, Veronica Cartwright, and Brooke Adams all star as a group of San Francisco residents frantically attempting to figure out what is happening and how to survive it. The special effects for the "pod people" look gross and great in equal measure, and the film's iconic ending, with Sutherland pointing and screaming, is unforgettable.

Mad Max: Fury Road

If you are only going to watch one "Mad Max" movie, make it "Fury Road." Although "The Road Warrior" is also excellent, the latest "Mad Max" film instantly became the best of the series. After making the first three films in the series between 1979 and 1985, director George Miller left the franchise behind for 30 years. 2015 saw the glorious return of Mad Max Rockatansky, with Miller again at the helm as the director, producer, and co-writer alongside Brendan McCarthy and Nick Lathouris.

With Tom Hardy filling the lead role previously played by Mel Gibson, Max finds himself captured by Immortan Joe's War Boys and used as a living blood supply. By chance, he gets mixed up in the attempted escape of Immortan Joe's wives led by Imperator Furiosa, played by Charlize Theron. George Miller has more "Mad Max" in the works . One is a prequel exploring Furiosa's origin story, simply titled "Furiosa," and the other is a sequel with Mad Max Rockatansky back at the helm, titled "Mad Max: The Wasteland."

The Book of Eli

"The Book of Eli" is a post-apocalyptic film from 2010 with a heavy emphasis on action. Denzel Washington stars as the titular Eli and commands the screen as a man on a divine mission to transport a bible across the dangerous, devastated wasteland. Mila Kunis plays a large supporting role, and Gary Oldman serves as the film's main villain, a dangerous gang leader named Carnegie. Other supporting roles are filled by the likes of Ray Stevenson, Michael Gambon, Jennifer Beals, musician Tom Waits, and martial artist Lateef Crowder.

The ruins of the post-civilized landscape in "The Book of Eli" look great, even though the world-building at times might feel a little too familiar from various other similar stories. Though there is a large religious component to the film, one does not need to be religious in order to enjoy the science fiction and action elements of the story. "The Book of Eli" was written by Gary Whitta, who would go on to write "Rogue One: A Star Wars Story" and multiple episodes of "Star Wars: Rebels." The film was directed by twin brothers Albert and Allen Hughes, who are best known for directing "Menace II Society" and "Dead Presidents" in the '90s.

28 Days Later

"28 Days Later" is a zombie film from Irish director Danny Boyle. The screenplay was written by Alex Garland, who also wrote the screenplay for Boyle's film "Sunshine" and wrote the novel that was adapted for Boyle's film "The Beach." Garland has gone on to become a director himself, making the movies "Ex Machina" and "Annihilation," as well as the FX television series "Devs."

Cillian Murphy stars as a courier who wakes up from a coma to find himself 28 days into a zombie apocalypse. Technically, they aren't zombies but rather people infected with the "rage virus," but for all intents and purposes, this is a zombie film. Naomie Harris and Brendan Gleeson play survivors who help out the bewildered courier, and Christopher Eccleston has a small but juicy antagonist role in the latter stages of the film as a Major in the now-disorganized military.

The beginning of the film includes a sequence showcasing deserted London landmarks, which was difficult to shoot (via Time Out ), but resulted in truly harrowing images of the early stages of the apocalypse. The 2002 film was partially shot  with early digital video cameras , resulting in a picture quality lower than the average film. However, the reduced image quality only added to a sense of grunginess and realism that worked in the film's favor. "28 Days Later" is notable for popularizing fast zombies over the slower, shambling type of undead.

The Survivalist

2015's "The Survivalist" is a low-key post-apocalyptic story made in Ireland for a small budget of about £1 million (via Culture Northern Ireland ), or approximately $1.4 million. The film is the feature-length directorial debut of writer and director Stephen Fingleton. The story follows a man, played by Martin McCann, who lives a self-sustaining existence in isolation after the world has ended by way of mass starvation. Two women, played by Mia Goth and Olwen Fouéré, arrive in need of food and shelter, challenging his solitary lifestyle.

Fingleton first told a truncated version of this story as a short film titled "Magpie," released one year prior. McCann and Goth both appeared in that rendition of the tale as well. The low budget shows at times, and "The Survivalist" is extremely small in scope, with just the three main characters and a single primary location. The film's reduced scale is especially apparent when compared to other post-apocalyptic sagas, but it makes for a good change of pace if you're looking for an end-of-the-world movie that is drastically different from most others.

Take Shelter

"Take Shelter," from writer and director Jeff Nichols, is the only film on this list that both is and isn't a movie about the end of the world. The story follows a man, played by Michael Shannon, who believes he is having visions of an impending apocalyptic event. Whether the potential disaster that hangs over the film is real or a result of mental illness suffered by the main character is left somewhat open to interpretation . The film unfolds as an emotional, character-driven drama about worry and doubt.

Jessica Chastain gives a great performance as the put-upon wife whose husband is convinced the world is about to end while no one else believes him. Shea Whigham also turns in a strong performance as a friend turned enemy of the family. But this is Michael Shannon's show, and he is phenomenal in the part. Shannon has appeared in all of Jeff Nichols' films in either the lead or a supporting role. "Take Shelter" won three prestigious awards at the 2011 Cannes film festival, including the Critic's Week Grand Prize.

"Embers" is a smaller and lesser seen movie with a unique spin on the post-apocalyptic genre. In "Embers," rather than a violent and destructive force bringing about the end of the world, it's a neurological disorder instead. The world's capacity for memory has been obliterated. Living in the world of "Embers" is a constant battle with repeating amnesia. Characters awaken with no memory of who they are or what happened to the world and are unable to form new memories that last beyond a brief while.

The story of "Embers" takes a vignette approach with minimal overlap, telling different short plots following different characters all struggling to navigate a world without memory. "Embers" isn't a perfect film — it's rough around the edges and doesn't quite deliver on the scale demanded by its premise — but the sci-fi concept at the heart of the film is such a fresh take on the post-apocalyptic genre that the film is worth a watch in spite of its flaws.

The World's End

"The World's End" is a British combination of sci-fi, action, and comedy about an alien invasion that escalates all the way to, you guessed it, the world ending. The film stars the beloved comedy duo of Simon Pegg and Nick Frost and was directed by Edgar Wright. The three first began working together with the television series "Spaced" in 1999. "The World's End" serves as the final film in the "Cornetto Trilogy," though it tells a self-contained story with different characters from the previous two films, "Shaun of the Dead" and "Hot Fuzz." Pegg co-wrote all three films with Wright.

Pegg and Frost undergo a bit of role reversal for "The World's End," as opposed to their usual straight-man/funny-man dynamic. The rest of the cast is strong as well and includes the likes of Martin Freeman, Paddy Considine, David Bradley, Rosamund Pike, Pierce Brosnan, Michael Smiley, and Eddie Marsan. Wright's direction is stylish and distinctive, the myriad fight scenes against blue-blooded robots are exciting, and the entire film is hilarious. Plus the film has a good dramatic backbone that lingers on the key emotional moments to good effect.

This is the End

"This is the End" is another comedy about the end of the world that was coincidentally released the same year as "The World's End," but the type of apocalypse and the sense of humor are both drastically different. This American comedy is much more crude than its British counterpart and spends far more time exploring the crumbling of the world — or in this case, the rapture .

Though they had written many projects together beforehand, "This is the End" was the first film directed by the creative team of Seth Rogen and Evan Goldberg, whose friendship served as the basis for "Superbad," which they also wrote. The cast of "This is the End" is packed with stars in both large and small roles, and the majority of the cast members play fictionalized versions of themselves. Rogen, Michael Cera, Jay Baruchel, James Franco, Danny McBride, Jonah Hill, Craig Robinson, Emma Watson, Rihanna, Paul Rudd, Channing Tatum, Kevin Hart, Aziz Ansari, and more all play exaggerated and often self-deprecating versions of themselves, often with hilarious results.

Children of Men

"Children of Men" is a fusion of the often-conflated dystopian and post-apocalyptic genres. This 2009 sci-fi drama takes place within a dystopian society that has an expiration date looming on the horizon. The cause of the end of the world this time around is sterility. The year is 2027, and no children have been born in the past 18 years. When a woman becomes pregnant for the first time in nearly two decades, it's up to Theo, played by Clive Owen, to assist a radical activist group in shepherding the pregnant woman to safety at sea. Michael Caine, Chiwetel Ejiofor, and Julianne Moore flesh out the supporting cast.

The story was adapted from the novel of the same name written by author P.D. James. "Children of Men" was directed by Alfonso Cuarón, who also made films like "Gravity," "Roma," and "Y Tu Mamá También." The film was acclaimed for its visual style crafted by Cuarón and the cinematographer Emmanuel Lubezki, who was nominated for the Best Cinematography Oscar for his work. The film was also nominated for the Best Adapted Screenplay and Best Film Editing Oscars as well. The film includes a number of complex and lengthy shots that required deft coordination. Some, like the folks at No Film School , contend that "Children of Men" contains "the perfect long take."

A Boy and His Dog

"A Boy and His Dog" is an absolutely bizarre post-apocalyptic tale from 1975. The novella of the same name written by Harlan Ellison served as the source material for the film, in which a nuclear war between the United States and the Soviets has ravaged the planet and turned it into a desert wasteland. Luckily, before the planet was destroyed, a major scientific breakthrough was made that enabled telepathic communication between humans and genetically engineered animals.

Don Johnson, of later "Miami Vice" fame, stars as Vic, a young man who wanders the wasteland with his telepathic dog, Blood, voiced by Tim McIntire. Jason Robards and Susanne Benton also co-star. The poster proclaims that "A Boy and His Dog" is "an R rated, rather kinky tale of survival," so you know you are in for something a little different than the average post-apocalyptic fare. "A Boy and His Dog" is set in 2024, so we won't have to wait long to find out whether or not nuclear war and telepathic animals are in our future.

Dawn of the Dead

George A. Romero's "Night of the Living Dead" from 1968 was a massively influential horror film that gave birth to the entire zombie genre as we know it today, but it didn't quite cross over into end-of-the-world territory yet. Romero's 1978 follow-up, however, "Dawn of the Dead," did enter apocalyptic territory. With a much larger scope than its predecessor, "Dawn of the Dead" depicts a world completely overrun by the zombie outbreak. A group of charismatic survivors — played by Ken Foree, Scott H. Reiniger, David Emge, and Gaylen Ross — flee the danger of the city and take refuge in a shopping mall, which is itself also overrun by zombies.

With special effects from groundbreaking gore pioneer Tom Savini  – who also plays a supporting role in the film as a motorcycle thug named Blades — "Dawn of the Dead" is full of memorable zombie kills, as when a zombie gets a little too close to the blades of a helicopter, or the iconic machete-through-the-head gag. The film is frightening and exciting, but it is also deeply emotional and extremely funny at times as well. What makes it all work are the dynamics between the main cast of characters. This quartet of survivors is so likable that you genuinely want the best for them in this zombie-ridden world.

Day of the Dead

George A. Romero returned to the "Dead" series in 1985 with "Day of the Dead." With a completely different setting and group of characters, this is a sequel only in that it takes place within the same world overrun by zombies. This time around, the setting is Florida, and our group of survivors spends the vast majority of the film hunkered down within underground salt mines that also house a military base and a research laboratory. Though most of the film takes place in this one location, "Day of the Dead" does open with an effective view of the post-apocalyptic landscape of Florida. Streets littered with trash, zombie hordes roving the city, and an alligator crawling down the steps of a municipal building culminate in a brief but sobering glimpse of the ruins of the world up above.

The film's main conflict has more to do with infighting between the human characters than it does with the potential danger of the zombie hordes. It's the military versus the scientists in "Day of the Dead," and there are memorable characters on both sides. "Day of the Dead" also introduces the idea of zombie conditioning as much of the research done by the scientists concerns the mental and physiological study of zombies. The scenes between Bub, the smart zombie, and the optimistic Dr. Logan, nicknamed Frankenstein, offer a much needed glimmer of hope for the future of civilization — only to be dashed by the reckless and impatient military.

It Comes at Night

2017's "It Comes at Night" is a thriller from writer and director Trey Edward Shults, who also made "Waves" and the indie darling "Krisha." "It Comes at Night" suffered from an egregious case of mismarketing. Audiences went into the film expecting a supernatural horror film based off the poster, plot description and trailer, but that isn't quite what "It Comes at Night" is. Even the title, "It Comes at Night," wound up being a bit of misdirection since nothing comes at night in the film other than a handful of nightmare dream sequences, and some viewers were left feeling manipulated and misled by a film that didn't deliver on its promises.

However, if you go into "It Comes at Night" with the right expectations, you will find a tense story about paranoia and trust set in a mysterious post-apocalyptic world. The scope of the film is small and focuses on just a few characters, but this limited scale enables the film to focus on character complexity and thematic exploration. The whole cast turns in good performances, but Joel Edgerton and Christopher Abbott shine especially brightly, and Shults's direction is strong while venturing into drastically different territory from his other two films, which are both grounded dramas.

Delicatessen

"Delicatessen" is a 1991 French film centered around the tenants of an apartment building above a butcher shop in a post-apocalyptic world where food is extremely scarce and doubles as currency. The owner of the butcher shop is also the apartment building's landlord, and when tenants go missing, suspicions of potential cannibalism arise. The film was co-directed by Marc Caro and Jean-Pierre Jeunet, the latter of whom made the highly acclaimed "Amélie." Caro and Jeunet also collaborated on "The City of Lost Children" in 1995.

Those who are familiar with the work of Caro and Jeunet will have an idea as to the visual style to expect from "Delicatessen." The film stands out as unique in the canon of post-apocalyptic cinema and makes extensive use of dark comedy and surrealism. The comedic elements are front and center in "Delicatessen," but the film isn't afraid to get dark at times too.

"12 Monkeys," from director and founding Monty Python member  Terry Gilliam, was inspired by the 1962 short film "La Jetée" from French documentarian and short filmmaker Chris Marker. While most post-apocalyptic films either showcase the world ending or explore what remains long after the end has come, "12 Monkeys" centers around an attempt to prevent the cataclysm from happening through the use of time travel.

The story follows James Cole, played by Bruce Willis, a convict sent back in time with the mission of preventing a biological terror attack that will lead to the total collapse of society. The prominence placed on science fiction concepts helps set "12 Monkeys" apart from the majority of post-apocalyptic films, and the frozen-over look at the future world wiped out by the virus is distinct and memorable. Brad Pitt has a great supporting role as Jeffrey Goines, a mental hospital patient with his own agenda. "12 Monkeys" was rebooted as a four-season television series on the SyFy network from 2015 to 2018.

Snowpiercer

2013's "Snowpiercer" is set in the distant future after the world has frozen over. Earth's only remaining inhabitants live within a high-tech train that continuously circumnavigates the globe. While the outside world is deathly cold, the interior of the train isn't free from danger either. Those at the back of the train lack all of the comfort and luxury of those at the front in a bit of scathing social commentary on classism — a common thematic focus throughout director Bong Joon-ho's entire body of work. 

The story was adapted from a French graphic novel from the 1980s titled "Le Transperceneige." Curtis, played by Chris Evans, leads a band of rebels from the back of the train on a charge up toward the engine car as class warfare breaks out. Ed Harris has a brief but memorable role as the train's creator, Wilford, while Tilda Swinton, Alison Pill, Tómas Lemarquis, and Vlad Ivanov all stand out as his most memorable subordinates. Serving in the resistance alongside Evans are Octavia Spencer, Jamie Bell, and John Hurt, plus a pair of father and daughter third-party wildcards, played by Ko Asung and frequent Bong Joon-ho collaborator Song Kang-ho, who get caught up in the mix. The story of "Snowpiercer" was expanded with a television prequel in 2020 on the TNT network.

A Quiet Place

"A Quiet Place" was a huge hit when it came out in 2018. The film is set in a wholly unique scenario where silence is key. Seemingly invincible monsters that are blind but hunt by sound have decimated the Earth's population. The story follows one family as they attempt to live as normal a life as they can in a world with such drastically altered rules of survival. "A Quiet Place" was directed by John Krasinski, who also co-wrote the script and stars in the lead role alongside his real-life wife, Emily Blunt. Krasinski returned to direct the sequel, "A Quiet Place Part II," as well.

While the film contains a few leaps in logic and potential plot holes, and occasionally feels held back by its PG-13 rating, it also features a number of tense sequences and has excellent sound design. Given how much silence factors into the narrative, a lot of weight rests on the shoulders of the film's post-production sound team, and they absolutely deliver. Not surprisingly, Ethan Van der Ryn and Erik Aadahl were nominated for the Best Sound Editing Oscar for their work on "A Quiet Place."

The Last Man on Earth

"The Last Man on Earth," not to be confused with the unrelated 2015 television series of the same name, is a sci-fi drama from 1964 and the oldest film to make the list. Horror icon Vincent Price stars as Dr. Robert Morgan, the presumed last man on earth who lives a sad and isolated existence in a world gone to ruin. A disease has ravaged earth's population, and scattered collectives of vampires are the only other traces of life aside from Dr. Morgan.

The story was adapted from the Richard Matheson novel "I Am Legend," which was subsequently adapted into the Will Smith-led "I Am Legend" movie from 2007. The same novel also served as the source material for "The Omega Man" starring Charlton Heston in 1971 and "I Am Omega" starring Mark Dacascos, which was released in the same year as the Will Smith adaptation. Though this story has been told many times, the assorted film versions are all quite different from each other. If you have seen the Will Smith or Charlton Heston version of the story, it can still be worthwhile to go back and seek out the first film adaptation, starring the one and only Vincent Price.

Terminator 2: Judgment Day

"Terminator 2: Judgment Day" built upon the already excellent foundation provided by the first "Terminator" film and expanded upon its scope in every area, including the fleeting glimpses at the post-apocalyptic world ravaged by deadly terminators in the future. The film raked in four Oscar wins and was nominated for two additional Academy Awards. James Cameron returns as the director and co-writer for this sequel, which does not play anything safe.

Edward Furlong plays young John Connor, the fated leader of the resistance that will one day wage war against the terminators as humanity's last hope after the Skynet takeover. Linda Hamilton returns as Sarah Connor from the first film, but has undergone a drastic transformation from the first film's hapless damsel in distress to the tough-as-nails psyche ward patient she begins as in the sequel. Arnold Schwarzenegger is back as the T-800 terminator who hunted down Sarah Connor in the original film, but he has switched allegiances from villain to hero as he now protects John Connor from the nearly unstoppable liquid metal of the T-1000, played by Robert Patrick. The characters are iconic, the action is big and exciting, and the film has a lot of humor and heart in all the right places.

10 Cloverfield Lane

2016's "10 Cloverfield Lane" is a part of the loosely connected anthology of "Cloverfield" films, which also includes the original found-footage movie from 2008 and "The Cloverfield Paradox" from 2018. "10 Cloverfield Land" shares very little in common with the other two, and the original script reveals no connection to the others whatsoever. The film was first written as a spec script titled "The Cellar," and was then rewritten to connect to the "Cloverfield" franchise.

The story follows Michelle, played by Mary Elizabeth Winstead, who gets in a car accident and wakes up in an underground bunker owned by the intimidating and marginally unhinged Howard, portrayed by John Goodman. Howard claims that the air outside the bunker has become poisoned after an attack, but Michelle doubts the veracity of his claims. The line between protection and possession blurs within the bunker, and Michelle begins plotting an escape with the help of another captive, Emmett, played by John Gallagher Jr.

This well-made film serves up plenty of intrigue and tension with a small cast and a singular location. The overblown ending that connects the film to the "Cloverfield" universe is a little bit of a misstep, but everything else preceding it is quite strong. "10 Cloverfield Lane" was the feature-length directorial debut of Dan Trachtenberg , who would go on to direct episodes of "Black Mirror" and "The Boys." Damien Chazelle — writer and director of "Whiplash" and "La La Land," among other projects — worked on the screenplay early in his career before making it big, via Indie Wire .

"Stake Land" is an indie film from 2010 made for a low budget of less than $1 million (via IMDb Pro ). The world in "Stake Land" is overrun by vampires, and the film leans into both the scares and violence associated with bloodsuckers in the horror genre. The story follows a pair of vampire hunters, one young and inexperienced, and the other a master killer of the undead. The trajectory of their path may feel familiar to fans of the genre as they work their way toward the Canadian border in hopes of finding a safe place referred to as New Eden.

Critics praised  "Stake Land" as a refreshing take on the stale vampire genre that knows exactly what it is and leans into its low-budget sensibilities. Nick Damici stars as Mister, the expert vampire hunter shepherding the young Martin, played by Connor Paulo, through the dangerous landscape of post-apocalyptic America. Damici co-wrote the film with director Jim Mickle, who would go on to co-create the Sundance TV series "Hap and Leonard" and the Netflix original series "Sweet Tooth," which saw him return to the post-apocalyptic genre. The world of "Stake Land" grew in 2016 with the release of "Stake Land II: The Stakelander."

"Stalker" is Russian filmmaker Andrei Tarkovsky's epic science fiction parable from 1979. Many cinema organizations, such as The British Film Institute , consider Tarkovsky to be "one of cinema's true masters," with films like "Andrei Rublev," "Mirror," "Solaris," and "Nostalghia" to his name. The story concerns a pair of men who follow a guide, known as a stalker, on an excursion into an off-limits area known as "the Zone" in search of a place within called "the Room." This rumored and perhaps mythological room is said to have the power to grant wishes.

The film is unlike the vast majority of post-apocalyptic movies out there. Rather than relying on action and excitement, "Stalker" is a slow-moving and contemplative affair. The terms "poetic" and "high art" are frequently applied to "Stalker," along with the rest of Tarkovsky's oeuvre. The precise meaning of "Stalker" is left open to interpretation, as explored in The Guardian , but most believe "the Zone" to be a representation of the official exclusion zones that surround the irradiated lands near nuclear disaster sites, of which Russia has several.

Movie review: ‘It Ends With Us’ a bungled…

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It’s primary election day in florida. here’s what’s on the ballot, things to do entertainment, movie review: ‘it ends with us’ a bungled adaptation of romance novel.

Adapted for the screen by Christy Hall, the source text of “It Ends With Us,” is the massively successful 2016 novel by Colleen Hoover, an author who started out self-publishing her own books. They became so popular on Kindle Unlimited that she made it to the New York Times bestseller list on her own before she was picked up by Atria Books, a division of Simon & Schuster. “It Ends With Us” is a cathartic personal story for Hoover, based on family experience, about a woman, Lily (played in the film by Lively) overcoming a cycle of domestic abuse, which she witnessed in her parents’ marriage and later experiences herself in a toxic relationship.

The story follows Lily (last name Bloom, yes it is acknowledged), a young woman living in Boston, who has dreams of opening up her own flower shop (yes, it is called “Lily Bloom’s”). The film opens at the funeral of her father (Kevin McKidd) at which Lily struggles to name even a few things she loved and respected about him. While processing her complex feelings on a rooftop patio at night, she encounters a hunky neurosurgeon with a temper, Ryle Kincaid (Justin Baldoni).

Running into him months later, his sister Allysa (Jenny Slate) now working at Lily Bloom’s, they fall into a relationship, which is complicated by yet another coincidental run-in, with Lily’s first love Atlas Corrigan (Brandon Sklenar), the hunky chef and owner at their favorite restaurant, whom Lily has not seen since high school. Ryle’s jealousy toward Atlas escalates the increasing volatility of their relationship, which has started to result in violence and injury toward Lily, whether accidental or not.

For all the limitations of Hoover’s novel, with its juvenile writing style and cringe-worthy prose, it is at least clear-eyed about the realities of intimate partner violence. Lily in the book is young (early 20s) and an often irritatingly immature character, but her eyes are at least open to what’s happening in her relationship. The Lily of the movie reads older, and cooler; the dialogue by Hall is much sharper and funnier. But in the film, Lily is delusional about her relationship, and the film blurs the lines of the abuse for too long to a frustrating degree that essentially robs our heroine of her agency, and elides some of Ryle’s obvious manipulation.

Of note here is that Baldoni, playing the abusive Ryle, is also the film’s director. Perhaps it was in the screenwriting, or a top-down decision based on test screenings and audience reaction, but there is a clear story choice to conceal Ryle’s true nature, and reveal his intentions late in the film, in montage, that does not square with how the events proceed in Hoover’s telling. Perhaps this decision was made so that the audience (who may not have read the book) might not turn on his character too soon.

Other small storytelling changes alleviate Ryle of some of his darker actions as well. Choices to condense, omit and change texts in the process of adaptation are necessary, but the choices made for this film adaptation result in our heroine, though seemingly much more mature and intelligent, becoming a character who is helpless, complicit and confused, which is troubling for this topic of intimate partner violence.

Baldoni’s approach to crafting the stylistic world of “It Ends With Us” is to offer the romantic escapist fantasy inherent to the literary and cinematic genre: elaborate costume and production design, luxe interiors, a Boston where it mysteriously never snows, extensive courtship and seduction montages set to contemporary indie ballads. It never feels like it’s set in the real world, but given that this is romantic melodrama, it doesn’t have to. But there are also harsh realities that the story must face, and gilding Lily’s experience by softening the blow, so to speak, doesn’t get at the harsh truths that Hoover unearthed in her book, which clearly connected with a large female readership craving stories like this.

“It Ends With Us” continues the tradition of “women’s pictures” that were an essential part of Hollywood film production in the 1940s — Bette Davis could have starred in a version of this some 80 years ago. But women’s pictures also have to express stark truths, which feel unfortunately muddled here, in a bungled adaptation that is at once too close and too far from its source.

‘It Ends With Us’

2 stars (out of 4)

MPA rating: PG-13 (for domestic violence, sexual content and some strong language)

Running time: 2:10

How to watch: In theaters Aug. 9

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50 Best 'End of the World' Movies

2. The Road

3. War of the Worlds

4. 28 Days Later

5. 28 Weeks Later

6. Battleship

8. Children of Men

9. Daybreakers

10. Green Lantern

11. Jumanji

12. Planet of the Apes

13. Rise of the Planet of the Apes

14. Seeking a Friend for the End of the World

15. The Cabin in the Woods

16. The Crazies

17. The Mist

18. The Day

19. The Day After Tomorrow

20. The Day the Earth Stood Still

21. The Happening

22. Reign of Fire

23. Sunshine

24. The Birds

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Movie Reviews

Tv/streaming, collections, chaz's journal, great movies, contributors, what do you do for a third act.

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If he were told the world were ending tomorrow, Martin Luther once said, he would plant a tree. Werner Herzog would start a film. In "Seeking a Friend for the End of the World," Steve Carell plays an insurance salesman but finds little point in selling a whole-life policy. An asteroid 70 miles wide is on a collision path with Earth, and governments have announced it will slam into its target in three weeks' time.

To me, even worse than this catastrophe would be foreknowledge of it. To die is one thing. How much worse to know that all the life that ever existed on this planet, and all it ever achieved, was to be obliterated? Dodge (Carell) looks a little gloomy at the best of times. Now life is really piling on. A space-shuttle mission to destroy the asteroid has failed, and to make things worse, Dodge's wife has walked out on him and joined the man she really loves.

The end of the world is hardly a rare subject for movies; recently we've had " Melancholia " and " Another Earth ," and who could forget Don McKellar's bittersweet " Last Night " (1998)? Lorene Scafaria , the writer-director of this film, approaches the subject as an opportunity for melancholy satire and some gentle romance. It amounts to sort of a romanic comedy, although it makes no promises of providing a happy ending.

Some people riot in the streets. There are looters, determined to have a new big-screen TV, no matter how few days are left to watch it. There are orgies and mass baptisms. Cable news inevitably attaches a catchphrase and some theme music to the apocalypse. Radio stations have countdowns. Dodge, alone and lonely in his apartment, unexpectedly finds himself caring for a dog. That's when I realized what I would do if I knew the world was ending. I would find a homeless mother dog with puppies and be calmed by her optimism.

Dodge meets Penny ( Keira Knightley ), a woman who lives in the next building. They begin to talk and become kindred spirits. She talks him into a road trip that would bring together two of their desires. He can look for the girl he's always thought he should have married, and she can seek her family.

The destination of this trip isn't really the point. Road trips are about who you meet along the way. They meet a man ( William Petersen ) who has hired a contract killer to shoot him and a survivalist ( Derek Luke ) who unreasonably believes all of his preparations will help him, and they come across a chain restaurant named Chipper's. The shtick at this place is that the staff are all your best friends. The approaching Armageddon has cranked this routine into high gear, and everybody in the place is so desperately friendly, it borders on madness.

How do you end a movie like this? I mean, before the inevitable end, which logically must be a blank screen? How does Scafaria as a filmmaker create a third act? She produces a couple of unexpected characters who inspire some moments of truth, and there is a Hemingwayesque flight in a small aircraft that is supposed, I guess, to indicate that we face the worst with stoic endurance. These scenes are good enough in themselves, but aren't really adequate to bring a sense of closure.

The best parts of this sweet film involve the middle stretches, when time, however limited, reaches ahead, and the characters do what they can to prevail in the face of calamity. How can I complain that they don't entirely succeed? Isn't the dilemma of the plot the essential dilemma of life?

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Seeking a Friend for the End of the World (2012)

Rated R for language including sexual references, some drug use and brief violence

101 minutes

Steve Carell as Dodge

Nancy Carell as Linda

Keira Knightley as Penny

Rob Corddry as Warren

Patton Oswalt as Roache

Derek Luke as Speck

Written and directed by

• Lorene Scafaria

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