Michael Fairbanks
Alexander Ullom’s It Ends wrings one of the most unique recent horror stories out of a distinctly Gen-Z strain of existential dread. My life will inevitably go nowhere due to forces out of my control – so why should I fight. As this demo has grown up, we’ve seen elder filmmakers fumble while trying to capture even Gen-Z’s basic humor and cadence. Doing so is second nature to the 27-year-old Ullom, who delivers a masterful screenplay that allows four unknown actors to express the full breadth of their range while not sacrificing any suspense in the process. It Ends isn’t a horror film in the traditional sense; it’s a patient story that may challenge some viewers with its intentional monotony and delirium. However, those who were attracted to the notion of liminal spaces in this year’s painfully overrated Backrooms should absolutely give this a shot. The confines of this Jeep Cherokee inspire more paranoia than those ugly yellow walls could dream of.
We follow recent college grads James (Phinehas Yoon), Fisher (Noah Toth) and Day (Akira Jackson) as they take a road trip with their somewhat estranged high school friend Tyler (Mitchell Cole). It Ends begins with your standard road trip debate about an animal survival meme before the nightmare begins. Tyler starts to drive down a dark road that leads to an unexpected dead end. He turns around and from then on, finds no end in sight. They continue down a straightforward road for days at a time, lost with only one direction to go. If they stop for too long, a horde of screaming people chase and assault them. The only way out might be through, but it doesn’t look good.
Many have recently complained about the same handful of actors appearing in “every movie.” Well, here you go. It Ends gives its cast the chance to showcase the depth of their range embodying these beautifully written characters. James is the glib one of the bunch who is the quickest to come to terms with their situation potentially meaning death. Phinehas Yoon perfectly captures the smugness of the friend who thinks he’s both the emotional core of the group while somehow being above any and all conflict. Conversely, Noah Toth’s Fischer is a total sweetheart who often butts heads with James’ mentality despite their shared sense of humor. Akira Jackson’s Day is a bit more reserved, often acting as the crisis manager while dealing with some very real demons of her own. Meanwhile, Mitchell Cole brings a more blue collar energy to Tyler. He’s socially awkward, at one point claiming that he ended a relationship because the person wanted him to drive 3 hours to go apple picking. He doesn’t have the sharp wit of the other three but we can tell that underneath, he is still a smart and caring person who wants to reconnect with his friends.
Nobody is vilified. Everybody brings some baggage to the table but none of the conflict feels manufactured. If this had been Gen-X or god forbid baby boomer centric, we’d likely be dealing with some nonsense adultery or abuse subplot that would overtake the actually exciting parts of the narrative. The richest moments in It Ends stem from watching the distinct ways in which these kids wrestle with the grief of their bygone existence. There’s some attempts to explore the woods and try to find answers but after a while, they’re all coping with it as though it is just another tragedy to add to the pile. This could’ve easily descended into unwatchable nihilism but this is equally hilarious and ridden with despair. It is deeply approachable and relatable.
Don’t expect major horror set pieces or a blunt explanation of what is going on. It Ends thrives on both visual and narrative ambiguity. This scenario is terrifying because it feels like it could happen to anyone who takes a wrong turn on a dark road. There’s no point in pulling any erratic moves like driving offroad through the woods or trying to fight the tsunami of fallen travelers. The cinematic language has a game-like quality to it. One major mistake and everything you’ve grinded out is for nothing. In that sense, it has a similar vibe to Genki Kawamura’s Exit 8 but with far more effective character work.
There’s been a lingering conversation about the power of independent cinema in 2026. Obsession in particular has become exalted in part because of its thrifty nature. It Ends might be even more impressive. Ullom has crafted one of the year’s most potent and affecting films with nothing more than a car, a winding road and four terrific young talents. It is a testament to movies both big and small not requiring extravagant gimmicks to make an impact. If the filmmaking talent is there, that’s all the fuel you need.
