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An intelligent, meticulously crafted drama about British soldiers in the trenches of World War I, “Journey’s End” is the latest cinematic rendition of a play by a war veteran, R.C. Sheriff, which premiered in England in 1928 with Laurence Olivier in a lead role. While the play was a huge hit on both sides of the Atlantic, and has proved an admirably durable theatrical staple (I saw the hit Broadway revival of 2007), one might wonder why it would be made into a movie in the present day.

An obvious one-word answer: “ Dunkirk .” Although they concern different wars, the two movies plumb the innate drama, tedium and terror of soldiers on foreign soil bracing for an onslaught by overwhelming enemy forces. Intimate and verbal, though, Saul Dibb ’s film provides a satisfying antithesis to Christopher Nolan ’s macrocosmic, hyper-sensory view of war: it gives close and sustained attention to a handful of soldiers facing both an implacable foe and their own mortality.

Since its debut, Sheriff’s play has been praised for its precise, flavorful realism and avoidance of cliches and rhetoric. Unlike many literary and cinematic treatments that would come later, it’s neither staunchly “patriotic” nor polemically “anti-war.” Leaving aside the war’s political causes (aside from one character’s statement that it should never have happened), it focuses squarely on the certain individuals and their ways of dealing with a situation of impending catastrophe.

Simon Reade ’s script for the film preserves the play’s virtues while opening its action outward in appropriate and judicious ways: While most of the drama remains in the bunkers of the British forces, when the soldiers leap out of the trenches onto the battlefield, we see that, too.

The tale takes place in the spring of 1918 near St. Quentin, France. The war has already dragged out for nearly four years, with millions killed; it will grind on for more than a half-year longer, snuffing out countless lives as it does. There is, in other words, nothing either strategically or historically significant about the episode we witness; it’s just another horror in a seemingly endless succession of them.

The film escorts us into the battle zone following fresh-faced teenaged Second Lieutenant Raleigh ( Asa Butterfield ), who could have done his service in a safer place but instead has gone to some trouble to get assigned to the command of Captain Stanhope ( Sam Claflin ). Before the war, Stanhope was a senior boy at Raleigh’s school and enamored of his sister; the three spent holidays happily wandering England’s countryside, the younger man recalls.

The early scene where Raleigh encounters Stanhope for the first time in the unit’s underground HQ is one of the film’s most memorable. Instead of the warm welcome he expected from his admired older pal, Raleigh finds a changed man. Though respected by his soldiers, Stanhope is a stiff and troubled officer and hardcore alcoholic. Naturally he doesn’t like Raleigh seeing him like this, and fears the reports he might send his sister.

Stanhope (the role that launched Olivier) is the pivotal figure in this drama. The other main character, gentlemanly, bookish Lieutenant Osborne ( Paul Bettany ), has joined the unit just recently but seems to have already formed a solid bond with Stanhope, who obviously needs his steadying, sane friendship.

A side note: The first film version of “Journey’s End” was directed in 1930 by James Whale , who would direct “Frankenstein” the following year and whose troubled psychic life as a gay WWI veteran is the subject of Bill Condon ’s “ Gods and Monsters .” While rights issues have kept Whale’s “Journey’s End” long out of circulation, a friend who’s seen it told me it’s rife with homosexual subtext. Apart perhaps from a poignant scene where a drunken Stanhope implores Osborne to tuck him into bed, that’s not the case here.

Instead, the drama describes the tensions, anxieties and sustaining camaraderie that unite these men and their fellows—including stalwart cook Mason ( Toby Jones ) and battle-hardened Trotter ( Stephen Graham ) and Hibbert ( Tom Sturridge )—as they begin a week when they’ve learned a massive German offensive is expected to begin. All know that they will be neither be evacuated nor reinforced. They are simply sacrificial lambs of the most basic strategic sort, their deaths meant only to momentarily slow the advancing enemy.

A crucial turn at the film’s dramatic apex comes when the Brits’ commanders send down an order that the unit mount a party of two officers and ten men to dash across no-man’s-land in the face of enemy fire, grab any German soldier they can, and bring him back in hopes of extracting intelligence about the upcoming attack. Raleigh and Osborne are the officers chosen for the detail. The mission is almost assuredly suicidal, just as it is inevitably futile, since it can do little or nothing to affect the impending slaughter.

Dibbs does a fine job bringing a nuanced, realistic visual style to this venerable tale of war’s cruel and colossal wastes, and his actors are all first-rate, with Bettany a special stand-out. But though it proves the timelessness of Sheriff’s drama, the film doesn’t make a particularly strong case for why, “Dunkirk” apart, it should be considered more-than-usually relevant today.

Godfrey Cheshire

Godfrey Cheshire

Godfrey Cheshire is a film critic, journalist and filmmaker based in New York City. He has written for The New York Times, Variety, Film Comment, The Village Voice, Interview, Cineaste and other publications.

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Journey's End movie poster

Journey's End (2018)

108 minutes

Sam Claflin as Captain Stanhope

Asa Butterfield as Raleigh

Paul Bettany as Osborne

Tom Sturridge as Hibbert

Toby Jones as Mason

Stephen Graham as Trotter

  • R.C. Sherriff
  • Simon Reade
  • Natalie Holt

Director of Photography

  • Laurie Rose
  • Tania Reddin

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Journey's End

Paul Bettany, Asa Butterfield, and Sam Claflin in Journey's End (2017)

Set in a dugout in Aisne in 1918, it is the story of a group of British officers, led by mentally-disintegrating young Officer Stanhope, as they await their fate. Set in a dugout in Aisne in 1918, it is the story of a group of British officers, led by mentally-disintegrating young Officer Stanhope, as they await their fate. Set in a dugout in Aisne in 1918, it is the story of a group of British officers, led by mentally-disintegrating young Officer Stanhope, as they await their fate.

  • Simon Reade
  • R.C. Sherriff
  • Vernon Bartlett
  • Paul Bettany
  • Sam Claflin
  • Stephen Graham
  • 106 User reviews
  • 74 Critic reviews
  • 73 Metascore
  • 4 wins & 3 nominations

Official Trailer

  • Lieutenant Osborne

Sam Claflin

  • Captain Stanhope

Stephen Graham

  • 2nd Lt. Trotter

Tom Sturridge

  • 2nd Lt. Hibbert

Alaïs Lawson

  • Sergeant-Major

Jack Riddiford

  • Private Graham
  • Private Peters

Theo Barklem-Biggs

  • Private Watson

Asa Butterfield

  • Second Lieutenant Raleigh

Derek Barr

  • Captain Reid

Nicholas Agnew

  • Corporal Pincher
  • General Raleigh

Miles Jupp

  • Captain Hardy

Toby Jones

  • Private Mason

Jake Curran

  • Signaler Hammond
  • Private Turner
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  • Trivia Playwright R.C. Sherriff had seen first-hand the effect of years of war on his friends and knew the fear and terror of waiting for an impending attack, waiting for his journey's end. The characters in the play are a reflection of the men Sherriff had served with in the 9th Battalion of the East Surrey Regiment.
  • Goofs A common misconception is the myth about having your chinstrap unbuckled. It is mainly an American thing that was spread in WW2. Fact is, if the concussion was strong enough to hurt your neck or face because your chinstrap was buckled, the force of the same concussion would more than likely kill you. Having your strap undone just meant you would spend a lot of time holding your helmet on while moving fast.

Lieutenant Osborne : Every little noise up there, makes me feel sick.

  • Connections Featured in Projector: Journey's End (2018)
  • Soundtracks Elevation Written and performed by Hildur Guðnadóttir

User reviews 106

  • samuelcbishop
  • Oct 29, 2017
  • How long is Journey's End? Powered by Alexa
  • February 2, 2018 (United Kingdom)
  • United Kingdom
  • Fluidity Films
  • British Film Company
  • Third Wednesday Films
  • See more company credits at IMDbPro
  • Mar 18, 2018

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  • Runtime 1 hour 47 minutes

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‘Journey’s End’ Film Review: Oft-Told WWI Tale Gets a Respectable Outing

War movie offers no new spin on the 1928 source material, but strong performances and direction result in a perfectly competent retelling

Journey's End

There’s no mistaking it. Saul Dibb’s “Journey’s End” looks, feels and plays exactly like the prototypical World War I movie, the kind we’ve all seen dozens of times already, if not more. But although that might read like some sort of insult, it’s not. It’s objectively true.

“Journey’s End” was originally written by English playwright R.C. Sherriff and first performed in 1928. Its intimate, suspenseful, and ultimately rather bleak portrayal of life and death in the trenches was adapted to the big screen by James Whale (“Frankenstein”) in 1930, and it has been remade and reinterpreted many, many more times over course of the last 90 years. The story and characters were so iconic that “Black Adder” did a whole season satirizing “Journey’s End,” and although it was hilarious, the episodes still managed to be earnestly mournful.

The new film, like most of the others, takes place in the British trenches in World War I, just yards away from the Germans. Tramping through the mud, the soldiers try to live like there’s some sort of tomorrow, but they know it’s only a matter of time before they will be asked to run over the wall, or before the Germans will come for them. Supplies are low, spirits are lower, and hope is AWOL.

Asa Butterfield (“The Space Between Us”) stars as Raleigh, a young soldier who only just arrived at the front, and who immediately requests to placed in the company of his old friend Capt. Stanhope (Sam Claflin), who is romantically involved with Raleigh’s sister. But the violence and terrors of continued warfare have frayed everybody’s nerves, and though once friendly and inspirational, Capt. Stanhope spends most of his time drowning his anxieties in liquor.

Raleigh, a child at heart (if not by age), is hardly a breath of fresh air for Stanhope’s company. To Stanhope, Raleigh is a reminder of how far he’s fallen, to be met only with suspicion and shame. The only person Stanhope truly trusts is Lt. Osborne (Paul Bettany), a former schoolteacher and the only person who seems capable of consistently keeping his head, a task which clearly weighs him down.

If there’s one thing director Dibb (“The Duchess”) understands, it’s muck. His characters trudge through slimy dirt in every scene, and their lives are equally mired as their boots. “Journey’s End” features scenes of wartime violence, but it’s mostly a character study staged in dimly lit underground bunkers, where the characters all find themselves huddled. One gets the distinct impression that they’d spend a lot of their time sitting in miserable silence if Raleigh hadn’t shown up, with no clue as to what awaits him or what’s in his company’s past. And one completely understands how little comfort he would be.

“Journey’s End” has been staged, and restaged, and inspired so many other similar stories that it’s now become difficult for the original to have a truly profound impact. Dibb dramatizes these events skillfully (Simon Reade wrote the adaptation of Sherriff’s play and novel) and has assembled a sturdy and dependable cast, but this new film doesn’t have a particularly new take on the material. It’s “Journey’s End,” told again, and told quite well. So whether or not it will astound you has a lot to do with how familiar you are with the source material.

Regardless of the baggage this story brings with it, or that anyone in the audience might have, there are moments of real beauty in Dibb’s version. Bettany gives an exemplary performance, soft yet steady. The highlight of this whole production is a moment that he shares with Butterfield, minutes before they have to climb the wall, probably to their certain doom.

Lt. Osborne, weary, wants to enjoy what will most assuredly be his last few minutes of peace by pretending the war does not exist and chit-chatting about nothing in particular. Raleigh can barely contain his excitement, or his nerves, and he wants to talk of nothing but their mission. Together they strive to have their half of the conversation, to each other’s frustration. They are together and apart, before and after, young and old, naive and wise, and they meet in the middle: Scared and scared.

There’s a word for a film like the new “Journey’s End,” and that word is “respectable.” There’s nothing about this production that falls flat; there’s nobody who doesn’t do their job. The film builds a fine and specific sense of place, the actors give performances we can believe in, and the drama is as tragic as one could reasonably expect.

Dibb’s adaptation will have less of an impact if you aren’t seeing this story play out for the first time, but if you are seeing it for the first time, it’s probably going to break your heart.

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‘Journey’s End’ Review: Old-Fashioned WWI Tale Will Leave You Shattered

By Peter Travers

Peter Travers

Over three days of fighting in March of 1918, British soldiers stuck in the WWI trenches of northern France and their commanding officers quartered below await a German attack. Raleigh ( Hugo ‘s Asa Butterfield), an inexperienced 19-year-old officer, had actually requested to join C Company, led his much-beloved former school housemaster and prospective brother-in-law Captain Stanhope (Sam Claflin). The latter tries to hide his rattling insecurities and mask his depression in booze and the counsel of his second in command, Osborne ( Paul Bettany ). Before the war, the lieutenant was teacher and family man with a knack for holding things together, or trying to, at least. But the brass know this will result in near-total casualties. It’s just a matter of when the bombs are going to start falling.

Director Saul Dibb ( The Duchess, Bullet Boy ) makes no effort to update R.C. Sherriff’s 1928 theatrical firestarter to suit modern trends. The dialogue, formal and courteous via a screenplay by writer/producer Simon Reade, is free of profanity, lacking the grenades of f-bombs so typical of the genre. The usual male bravado is replaced by a crushing vulnerability shared by tender comrades – these men have been in the war for years and hold few hopes in its final months of emerging alive. The vise-like tension grows out of the waiting, punctuated by bursts of action that achieve an explosive impact enhanced by their brevity. The play stayed mostly with the officers. But the film, drawing more on the later novel by Sherriff and Vernon Bartlett, opens up the action and expands to let us see every man facing his own individual fears. Toby Jones adds welcome humor as the company cook. Stephen Graham and Tom Sturridge make indelible impressions as soldiers pushed to the breaking point.

But Journey’s End brings out the very best in its trio of leads. Butterfield is heartbreaking as the blank page on which this tragedy is written, while Bettany brings much needed warmth to the bitter chill of the frontline trenches. But the film belongs to Claflin. Best known as prettyboy decoration in such hits as The Hunger Games, Pirates of the Caribbean: On Stranger Tides and Me Before You,  the actor is a revelation here, catching every nuance as disillusion eats away at Stanhope’s once profound humanity.

This World War I story has been filmed several times, most notably by James Whale ( Frankenstein ) in 1930. But Dibb’s version is the finest to date, accentuated by the haunting music of Icelandic cellist Hildur Guónadóttir. Only Stanley Kubrick’s 1957’s anti-war masterpiece Paths of Glory, which also tackled life in the trenches of The Great War, can top it for ferocity and feeling. Journey’s End is a bleak, sobering experience that puts audiences through a wringer. It’s also an emotional powerhouse you will not forget.

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Journey's End review: This old warhorse will get tears welling

There's a shadow that engulfs the young, crushes their spark and makes them look old before their time.

I’m talking, of course, about the shadow cast over ostensibly fresh feature films by Eighties TV comedy Blackadder .

As soon as the posh, patriotic hero is taken to a rat-infested trench in northern France in 1918, those familiar with Blackadder Goes Forth are likely to find themselves making invidious comparisons.

Journey’s End contains several hilarious lines, but none as funny as the famous BGF scene in which Lieutenant George asks if the moment has finally arrived to give “Harry Hun a darned good British-style thrashing”. And receives the reply: “If you mean, ‘Are we all going to get killed?’ Yes. Clearly. Field Marshal Haig is about to make yet another gargantuan effort to move his drinks cabinet six inches closer to Berlin.”

So what does Saul Dibb’s offering get right? RC Sherriff (on whose 1928 play Journey’s End is based) fought in the First World War and had first-hand knowledge of how ruthless England’s military leaders could be. The film taps into Sherriff’s anger and, just as importantly, his lack of machismo. Journey’s End celebrates tenderness under pressure.

Well-connected youngster Raleigh (Asa Butterfield) pulls strings so he can join a beleaguered unit led by Captain Stanhope ( Sam Claflin ). The latter was his idol at school (and his older sister’s sweetheart). But Stanhope is now an embittered sot. Lieutenant Osborne ( Paul Bettany ), a former schoolmaster, becomes a kind of surrogate parent to Raleigh. Can he keep the boy safe?

journey's end rotten tomatoes

Butterfield’s eyes make you think of husky dogs and lonely planets. Via these spectacular orbs, Raleigh’s primness and vulnerability are touchingly apparent. You won’t get through his sublime last scene without welling up. Claflin is tremendously engaging, moving effortlessly from pettish to passionate.

Though Bettany is a brilliant actor, I was less convinced by Osborne. A number of reviews have praised Journey’s End for being “unsentimental” but Osborne — heroically decent and modest, so avuncular that he, literally, insists on being called “uncle” — is machine-tooled to make us feel cosily upset. Tom Sturridge ’s Hibbert, an altogether more pathetic specimen, makes a deeper impression simply because he seems like an inhabitant of planet Earth.

Journey’s End is less of a must-see than a try-and-catch-it-when-it-comes-on-telly. At its best, though, it’s lovely. Think of it as a really, really, little gem.

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Sam Claflin in Journey’s End

Journey's End review – Sam Claflin first world war drama proves run-of-the-military

Saul Dibb’s adaptation of the celebrated RC Sherriff play struggles to convey the claustrophobia of the trenches and lacks the assuredness of this summer’s other major war movie, Dunkirk

When a filmmaker sets out adapting a stage play, their first order of business is usually divorcing the text from its intrinsic play-ness. Saul Dibb ’s new treatment of RC Sherriff’s celebrated first world war drama Journey’s End goes to great lengths to obscure the fact that the action was almost entirely constrained to a dimly lit dugout shelter, visualising the trenches and battlefield originally left offstage. The great pathos of Sherriff’s 1928 work unspools in this pressure chamber of near-death anxiety, as soldiers drink and fight and sullenly sit in silence while waiting for the heat of battle to come to them.

The trouble is that during the considerable amount of time spent in that cramped subterranean hideaway, the audience can feel Dibb fidgeting to get out so he can do and show more. In this respect, his behaviour mirrors that of the young troops itching for action. What makes for a good serviceman, however, doesn’t necessarily make for a good director. Dibb is working at cross purposes with himself, trying to communicate the claustrophobia of the dugout while simultaneously escaping it at every opportunity.

Asa Butterfield as Lieutenant Raleigh in Journey’s End.

For the men of C Company that inhabit it, the primary setting functions as a grim limbo, a liminal space where oblivion may not be present, but is definitely imminent. An introductory title card informs us that each squadron of infantry was required to spend six days of every month on the front, and the film plays out over the course of four such days. It’s a time of unease, and perhaps Dibb is angling to capture that restlessness through his constant diversions: dream sequences and treks through the foxholes that feel aimless aside from proudly displaying the lads’ workmanlike efficiency. (This adaptation, the fifth cinematic rendering of Sherriff’s play, was commissioned as part of the United Kingdom’s WWI Centenary Commemoration. To Dibb’s credit, he evokes the somber spirit of nationalism more vividly than, say, a bronze statue.)

The chaps of C Company fulfill all the classic war-picture stock roles, though Journey’s End is old enough that one could probably credit it with creating those clichés in the first place. Our boy is Lieutenant Raleigh (Asa Butterfield, whose childlike face is a crucial asset in his performance), a wet-behind-the-ears recruit getting his first taste of combat and offering the audience a surrogate in this unfamiliar environment. Marked for tragedy from the moment he naively describes the hell of war as “frightfully exciting,” his innocence gets eradicated in brutal fashion, and Butterfield acts with studied terror. Captain Stanhope ( Sam Claflin , a far cry from the young Laurence Olivier who originated the role) is Raleigh’s school chum and a picture of his dark future, shell-shocked and self-medicating with pre-noon boozing. He’s a cauldron of painful emotions: self-loathing over his slide into profligate alcoholism, angry at Raleigh for subjecting himself to a nightmare the boy can’t yet comprehend, and haunted by the memories of fiery annihilation from an earlier skirmish.

The character dynamics are still as rich as when Sherriff first realised them, and C Company’s supporting servicemen add a few complementary hues to this portrait of militarised despair. (As a forgetful staff cook, Toby Jones brings a more accessibly civilian viewpoint to the foreign terrain of war.) And yet Dibb’s direction doesn’t leave the actors enough room to breathe. His camerawork is indifferent in moments of repose, and when he shifts into intensity mode, his close-ups go individual moustache hair-levels of extreme. A drab colour palette and run-of-the-military score contribute to an all-around lack of distinction, too. It’s almost as if Dibb doesn’t trust the script, an odd hangup to have with material so thoroughly enshrined in the British dramaturgical canon.

It is to this film’s great misfortune that it has to exist in such close proximity to Dunkirk , a film that tackles, if not the same war, at least the same historical milieu and key ideas — the gutting effect trauma has on young men, the distinctly British propriety of stiff-upper-lipped combat — far more effectively. Like Dibb, Nolan understood that the anticipation of an unseen enemy can be far more excruciating than the immediacy of a firefight. Nolan made this approach work through a confident comfort with silence and stillness, two elements of which Dibb seems fearful. As a result, Journey’s End winds up a restless film, searching for a way out of what should be its destination. Keep calm and carry on, right past the marquee.

  • Toronto film festival 2017
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Journey’s End Review

Journey's End

02 Feb 2018

Journey’s End

journey's end rotten tomatoes

First performed barely a decade after the end of World War I, at a time when the wounds were still raw, Journey’s End is a bracing and understandably angry play. This, the fourth cinematic adaptation, is fittingly bracing and angry (and superbly acted).

This war occupies an uncomfortable position in our popular memory: our cultural picture of its participants reduces them to either hapless Blackadder Goes Forth characters or tragic poets dashing off their final lines before they found out just how dulce et decorum it was to get their guts shot out.

Sam Claflin has never been better.

This is an interesting counterpoint. It’s alive to the sheer unpleasantness of being told you were going to fight for king and country then being sent to hide in a rat-infested hellhole to be eviscerated by shells fired from three miles away. This could sound like cynicism — and this does feel oddly more like a Vietnam film than anything else — but it delivers instead a clarity that could only come from a text written by a veteran for an audience he knew would be riddled with his fellow veterans with finely tuned bullshit detectors regarding life in the trenches.

The cast relish playing against the clichés: Claflin has never been better than here (not even close), throwing the officer-class stiff upper lip out the window and playing Stanhope as a spittle-flecked alcoholic rage case (just not in front of the men). A character who in a more sentimental take on the period would deliver a climactic speech admonishing an unthinking colonel, here grimly — even eagerly — waits for the war that’s killed his spirit to finish the job on his body. Claflin is smart counter-casting: normally a sunny, grinning presence, he dials down the light in his eyes and turns in haunting work. It’s a shame awards aren’t given out for wordless acting: there’s a scene where he sends men to their deaths where he’s playing about 15 emotions at once.

Paul Bettany does equally strong, if more subtle, work as Lieutenant Osborne, Stanhope’s number two. Incarnating British decency under siege, he mothers Stanhope — at one point tenderly tucking him into bed to sleep off another binge — while clearly barely keeping himself together. As he prepares to mount an unnecessary raid on the enemy trenches, he mordantly observes, “At least the weather’s held,” which would be an early candidate for 2018’s most heartbreaking line if it weren’t for another scene where a character gently prepares another for the fact he may not come back to their dugout alive while never actually saying it straight. This may be sledgehammer stuff — the character in question all but magnetises himself to better attract bullets — but it’s effective as hell.

The technical delivery is skilful if at the lower end of the budget scale, but then again, showing exhilarating combat isn’t the point. Claflin, Bettany et al are playing real people trapped in a situation Samuel Beckett would find hopeless. It actually happened, and real people were responsible for putting them there, and this story, written when there were still people alive at whom to direct anger, carries considerable power.

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Celebrate Hip-Hop's 50th Anniversary

Journey's end, common sense media reviewers.

journey's end rotten tomatoes

Touching WWI drama focuses on humanity over battles.

Journey's End Poster Image

A Lot or a Little?

What you will—and won't—find in this movie.

Conveys both the allure and the horrors of war in

The characters are brave soldiers who serve their

Guns, some shooting. Bombs and explosions. Charact

A character tells a story about picking up "two li

Several uses of "f--k" and "s--t," plus "ass," "da

One of the major characters has a drinking problem

Parents need to know that Journey's End is a WWI-set drama that's based on a 1928 play by R.C. Sherriff. Based more on human concerns than big battle scenes, it's powerfully affecting and a fine examination of both the allures and miseries of war. Expect to see guns and shooting, death, dead bodies, and some…

Positive Messages

Conveys both the allure and the horrors of war in a humane way. But also, death is inevitable, and everyone suffers.

Positive Role Models

The characters are brave soldiers who serve their country and show great calm and courage in the face of death. They're more or less trapped, victims of their orders and circumstance, but they do their best. The youngest character is very excited for battle, while the older soldiers are more familiar with what actually happens.

Violence & Scariness

Guns, some shooting. Bombs and explosions. Characters die/dead bodies shown. Minor bloody wounds/gore. A man forcibly tries to kiss a waitress (he's about to head to the front lines) but is stopped. Struggling, fighting. Threatening with gun. Shouting. Dead rats briefly glimpsed.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A character tells a story about picking up "two little tarts." A (possibly nude?) pinup girl hangs on a wall in the background.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Several uses of "f--k" and "s--t," plus "ass," "damn," "hell," and the English slang "bloody."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

One of the major characters has a drinking problem; he drinks frequently, heavily, and gets falling-down drunk. His story isn't resolved. Other social drinking is shown (wine, whiskey, etc.). Cigarette and pipe smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Journey's End is a WWI-set drama that's based on a 1928 play by R.C. Sherriff. Based more on human concerns than big battle scenes, it's powerfully affecting and a fine examination of both the allures and miseries of war. Expect to see guns and shooting, death, dead bodies, and some bloody wounds, as well as shouting and threatening. A man briefly tries to forcibly kiss a waitress, but he's stopped. There's a brief discussion of a man "picking up two little tarts," and a (possibly nude?) pinup poster hangs on a background wall. Language includes several uses of "f--k" and "s--t," plus "damn," "ass," and "hell." One character drinks heavily and frequently and gets falling-down drunk. There's other social drinking, too, as well as era-accurate smoking. Asa Butterfield , Sam Claflin , and Paul Bettany co-star. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

journey's end rotten tomatoes

Community Reviews

  • Parents say (3)
  • Kids say (1)

Based on 3 parent reviews

Watch WITH kids and Discuss.

Reality of war, what's the story.

In JOURNEY'S END, World War I is under way, and fresh-faced young Raleigh ( Asa Butterfield ) has requested to be stationed with his old school head-boy, Captain Stanhope ( Sam Claflin ). Unfortunately, this means that Raleigh is to be deployed for a rotation of six days on the front lines, in the trenches just opposite a nest of German troops. Stanhope drinks heavily, quickly consuming the short supply of whiskey, but his stature in Raleigh's eyes fails to diminish. Rumors of an imminent attack are coming, and the men, led by the pipe-smoking Lt. Osborne ( Paul Bettany ), wait stoically. Other soldiers include dark-humored cook Mason ( Toby Jones ) and streetwise teddy bear Trotter (Stephen Graham), who loves to eat. Then their commanding officers order a suicide mission to capture a German; even if the men survive, a major attack may be imminent.

Is It Any Good?

This drama about the First World War is quietly moving as it conveys the horrors of war without heaviness, focusing on humanity and relying little on battle scenes. R.C. Sherriff's source play was first performed onstage with Laurence Olivier in 1928 and was previously adapted into a movie in 1930, marking the directorial debut of James Whale ( Frankenstein , Bride of Frankenstein ). It's tried-and-true stuff, and it still works. Director Saul Dibb ( The Duchess ) stages it with plenty of mud and gloom -- and even wobbly hand-held cameras -- and yet it has enough patience and care that it works beautifully.

Potent little moments, like attempting to clear mud from a whistle, punctuate the story. The cast is especially excellent, starting with Bettany, whose avuncular presence (the men call him "uncle") is downright calming; right before the mission, he coaxes Raleigh to think about other things (hot cocoa and a Lewis Carroll poem). Butterfield is appealingly naïve, and Jones makes a grimly funny cook, providing a commentary on the dishes he manages to put together. Even Claflin -- who usually seems to be cast more for his looks than his presence -- is fine here. Together, the characters manage to discuss things more immediate and personal than war, and, by extension, tell everything there is to say.

Talk to Your Kids About ...

Families can talk about Journey's End 's violence . How much is shown, and how effective is it? Is it more or less violent than other war movies?

Why do you think war might be exciting to young Raleigh? How does his opinion change over the course of the story?

How is drinking portrayed? Is Stanhope forgiven for his drinking because of the stress of war? What happens to him -- or what might happen to him?

How does the movie show smoking ? Why was smoking more prevalent during those times? Does the movie make it look glamorous?

What did you learn about the First World War from this movie? Did it inspire you to learn more?

Movie Details

  • In theaters : March 16, 2018
  • On DVD or streaming : July 3, 2018
  • Cast : Sam Claflin , Paul Bettany , Asa Butterfield
  • Director : Saul Dibb
  • Studio : Good Deed Entertainment
  • Genre : Drama
  • Topics : History
  • Run time : 107 minutes
  • MPAA rating : R
  • MPAA explanation : some language and war images
  • Last updated : June 20, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Screen Rant

Predicting the ending of all 13 fast & furious characters in fast 11.

The Fast Saga is set to conclude with Fast & Furious 11 – or Fast X 2 – but how will Dom Toretto and his family's stories come to a definitive end?

  • Dom will likely sacrifice himself for his family, mirroring Iron Man's fate in Avengers: Endgame.
  • Brian and Mia will finally get a proper sendoff in Fast 11, bringing closure to their story.
  • Letty may assume leadership of Dom's family if he dies, ensuring the saga ends on a fitting note.

The Fast Saga is set to conclude with Fast & Furious 11 – the second volume of Fast X – but how will Dominic Toretto and his family’s stories come to a definitive end? Throughout its entire run, the Fast & Furious franchise’s M.O. has been to keep going indefinitely. The mainline series is 10 movies deep and seems to still be going strong, but the plan is to conclude the saga with Fast 11 . Fast X was intended to function as the first part of a two-part finale, Avengers -style, and Fast 11 will be the final chapter of Dom’s cinematic journey.

After the open-ended cliffhanger in the final scene of Fast X , the sky is the limit for Fast 11 ’s finale. From Dom to Brian to Letty to Hobbs and Shaw, there are a lot of characters whose stories need to be wrapped up in the final Fast & Furious movie. Dom could die, Hobbs could ride off into the sunset, and Roman and Tej could be set up for a spin-off series – there are plenty of theories for the Fast & Furious series’ long-awaited ending. Here are some predictions for how the characters’ endings will shake out in Fast 11 .

10 Dominic Toretto Will Sacrifice Himself For His Family

Dom will be the iron man of fast & furious' endgame.

If Fast 11 is being modeled after Avengers: Endgame as the big finale of an action-packed cinematic saga, then one of the heroes is likely to die in the final battle – and it’ll probably be Dom. If Fast 11 is Fast & Furious ’ Endgame , then Dom is its Iron Man. Dom’s entire character has been defined by his undying love for his family and his willingness to do whatever it takes to keep them safe.

In that spirit, it would make sense for Dom to make the ultimate sacrifice for his family in Fast 11 . The franchise’s penchant for keeping the story going for as long as possible has resulted in a lack of stakes and consequences. No characters in this series stay dead. Killing off Dom would be a heartbreaking way to end this saga with some bittersweet finality.

9 Brian O'Conner & Mia Toretto Will Properly Settle Down

Brian and mia have been settled down for a while, but they need a proper ending.

Ever since Paul Walker passed away, Brian O’Conner – and, by extension, his love interest Mia Toretto – have been kept off-screen. They’ve been mentioned in passing, usually to say that they’ve settled down with their family. Vin Diesel has already teased that Fast 11 will give Brian a proper goodbye . This is a good sign, because Brian deserves a true farewell, and the final movie has to acknowledge him.

This could mean that Walker’s brothers, Caleb and Cody Walker, who stood in for him in Furious 7 , could return to give Brian one last Fast & Furious scene. It’s one thing to say that Brian and Mia have settled down, but it needs to be shown on-screen. For Fast 11 to feel like a conclusive ending to the saga, audiences need to see Brian and Mia at peace, enjoying their life together, even if it’s just for a second.

8 Letty Ortiz Will Assume Leadership Of Dom's Found Family

If dom dies, letty will take his place as the head of the family.

If Dom does make the ultimate sacrifice and die to save his family in Fast 11 , then it’s likely that his wife Letty Ortiz will take up his mantle. With Dom out of the picture, someone else will have to become the head of his found family. Since Letty is Dom’s closest ally and his partner-in-life as well as his partner-in-crime, she would be the best candidate to lead the family in his absence.

This would mean that the franchise could continue with a new chapter – this time, led by Letty – and Michelle Rodriguez has the movie star chops to assume franchise leadership after Diesel’s departure. Even if the franchise doesn’t carry on after Fast 11 , making Letty the new leader would leave the family in safe hands. It would be a fitting ending to this long-running story.

7 Roman Pearce & Tej Parker Will Go Off On Their Own Solo Adventures

Roman and tej are primed for their own spin-off series.

Just because the mainline Fast & Furious series is ending with Fast 11 , it doesn’t mean that Universal is done making money from Fast & Furious movies. Fast 11 is likely to set up a couple of spin-offs to give the franchise a second life after the end of Dom’s journey. Two characters who are primed for the spin-off treatment are Roman Pearce and Tej Parker, who could headline a series of great “buddy cop” actioners.

Tyrese Gibson and Ludacris have shared terrific on-screen chemistry throughout their entire Fast & Furious tenure. It feels like their dynamic is being underutilized with supporting roles in these films. Their chemistry is strong enough to support an entire movie franchise of its own. After Fast 11 , a series of Roman and Tej movies could be on the cards.

6 Han Lue & Gisele Yashar Will Be Reunited

After gisele's return, she has to be reunited with han.

Han Lue was killed off as far back as The Fast and the Furious: Tokyo Drift , then reappeared in the next three movies, which all took place before Tokyo Drift , before the series finally caught up with his death in Fast & Furious 6 . In both the post-credits scene of Fast & Furious 6 and flashbacks in Furious 7 , Han’s death was shown again to remind viewers of what happened to him. This was just after Han lost the love of his life, Gisele Yashar, who sacrificed herself to save him in Fast & Furious 6 ’s final battle.

In F9 , it was revealed that Han wasn’t really dead after all. And in Fast X , it was revealed that Gisele wasn’t really dead after all. In Fast 11 , these two lovebirds need to be reunited so they can resume their relationship.

5 Luke Hobbs Will Ride Off Into The Sunset After One Last Victory

Dwayne johnson has already teased how hobbs' journey will end.

The end of Luke Hobbs’ story isn’t just confined to Fast 11 ; he’s also taking center stage in a Hobbs-centric sequel to the Fast & Furious franchise’s first official spin-off, Hobbs & Shaw . Dwayne Johnson already teased how Hobbs’ story will end , promising that audiences will see him “ walk off into the sunset. ” This is the typical ending for notorious gunslingers in the western genre.

Hobbs was always an outlier in Dom’s family. He’s not as closely tied to the group as Letty or Brian; he’s a friend and ally who stops by to help them when they’re in a jam. Hobbs’ ending will likely see him as more of a lone wolf than a ride-or-die member of the family. After one last victory, he can finally hang up his hat and head off to lead a peaceful existence.

4 Deckard Shaw Will Continue His Mercenary Career For Good Causes

Shaw won't change his ways too much, but he has become more heroic.

By the end of the Fast & Furious saga, it’s unlikely that Deckard Shaw will change too much, because he’s very set in his ways. But he has gotten a lot more heroic since he saved Dom’s son and made peace with Dom’s family. Shaw will probably still be a mercenary for hire by the end of Fast 11 , but he might be taking jobs that hurt bad people and save innocent people, sort of like a vigilante.

Since Hobbs’ spin-off series is continuing without Shaw, Shaw could similarly go off on his own solo adventures. He could become the guy who does bad things for good people. If he becomes the kind of mercenary that Joaquin Phoenix played in You Were Never Really Here , it would set up a really exciting, really gritty Shaw solo series.

3 Ramsey Will Get A Cushy Government Job

Ramsey can put her hacking skills to good use with a government job.

Ramsey is a late addition to Dom’s family, but her skills as a hacker have been invaluable to the team’s exploits. The movies have demonstrated that Ramsey is so proficient at figuring out computer systems and cracking their security that she’s being underutilized as the I.T. technician of a mercenary squad. If Dom’s family disbands at the end of Fast 11 , Ramsey could take a cushy government position in the field of surveillance.

While most of Dom’s comrades are ne’er-do-wells who couldn’t hack it in a normal job, Ramsey is a good person. At the end of Fast 11 , following her final rubber-burning adventure with Dom and co., she might go legit. She’s always been a likable character, so it would be great to see her get a happy ending (with a steady government income).

2 Cipher Will Complete Her Transition From Villain To Hero

Cipher is in the midst of a redemption arc.

When Cipher was first introduced in The Fate of the Furious , she was the ultimate Fast & Furious villain. She managed to blackmail Dom into turning against his family, which is something that no Fast villain before her or since has been able to do. Cipher is a great character, so she’s continued to pop up in the subsequent movies, and in Fast X , she started a redemption arc.

In Fast X , Letty was locked up in a black-site prison in Antarctica and was surprised to find Cipher locked up in the same prison. Since they both faced a common enemy, they reluctantly joined forces to break out of there. Based on Cipher’s arc so far, it seems as though, at the end of Fast 11 , she’ll have completed her transition from villain to hero.

1 Dante Reyes Will Make Peace With Dom's Family

Dante will follow in the footsteps of every other fast & furious villain.

Dante Reyes is one of the only Fast & Furious villains whose tenure has extended beyond a single movie. Reyes’ revenge plot is so extravagant that Dom and co. aren’t even close to thwarting it by the end of Fast X , ending the movie on a cliffhanger to be resolved in Fast 11 . It might seem like Reyes is too far gone to be redeemed, but that’s the pattern followed by almost every past Fast & Furious villain.

From Shaw to Cipher, every villain who has sought vengeance against Dom’s family has eventually made peace with them and become an ally. If Reyes doesn’t do the same by the end of Fast 11 , it’ll be tough to get a real sense of closure on the Fast & Furious saga. Fast 11 could even set up Reyes for a future team-up.

journey's end rotten tomatoes

16 Best Romantic Movies on Amazon Prime Right Now (March 2024)

W e all need a little love in our lives, and sometimes there's no better place to get a dose of those feel-good romance vibes than a favorite movie. If you're looking for romantic movies you can watch right now, we've put together a list of the best romance films streaming on Prime Video right now, from classics to rom-coms to dramatic love stories and sexy thrillers .

Check out the list below, and if you didn't find what you're looking for here, check out our full list of the Best Movies on Prime Video or, if you've got Netflix and you're still in the mood for love, check out our list of the Best Romantic Movies on Netflix .

'I Want You Back' (2022)

Rotten tomatoes: 86% | imdb: 6.5/10, i want you back.

Release Date February 11, 2022

Director Jason Orley

Cast Clark Backo, Manny Jacinto, Scott Eastwood, Jenny Slate, Gina Rodriguez, Charlie Day

Runtime 1 hr 51 min

Genres Romantic Comedy

Breakups are hard, but moving on from them is harder. Unwilling to move on after their mutual dumping, Peter ( Charlie Day ) and Emma ( Jenny Slate ) decide to come together to help each other get their respective exes back. The plan: Emma is going to seduce Peter's ex Anne's ( Gina Rodriguez ) new boyfriend, Logan ( Manny Jacinto ), while Peter is going to friend-seduce Emma's ex Noah ( Scott Eastwood ) to break him up with his new girlfriend Ginny ( Clark Backo ). Of course, in the process of coming up for and planning this plan, Emma and Peter get to know each other and unwittingly develop feelings for each other. Hijinks and shenanigans ensue as the two try and execute their plan, but, without spoilers, it's safe to say that in the end, everyone ends up exactly where they are best suited. — Therese Lacson

Watch on Prime Video

'Sitting in Bars with Cake' (2023)

Rotten tomatoes: 76% | imdb: 6.4/10, sitting in bars with cake.

Release Date September 8, 2023

Director Trish Sie

Cast Odessa A'Zion, Navid Negahban, Martha Kelly, Yara Shahidi

Runtime 2 hr

Genres Romantic Comedy, Drama

Inspired by a true story, this Audrey Shulman -written rom-com, based on her own novel of the same name, follows two best friends, Corinne ( Odessa A’zion ) and Jane ( Yara Shahidi ), whose unbreakable bond faces its toughest test after Corinne is diagnosed with brain cancer. What begins as a carefree, run-of-the-mill chick-flick soon finds its emotional core, with an often tear-jerking narrative spine gently guiding the viewer by the hand into the film’s darker themes. A tale of friendship and passion, the film is catapulted into orbit by the perfect chemistry between A’zion and Shahidi, with the direction of Trish Sie managing to capture the twinkle in both women’s performances. Sensitive and funny, Sitting in Bars with Cake is certainly one to watch. - Jake Hodges

'Red, White & Royal Blue' (2023)

Rotten tomatoes: 76% | imdb: 7.0/10, red, white & royal blue.

Release Date August 11, 2023

Director Matthew Lopez

Cast Uma Thurman, Nicholas Galitzine, Sarah Shahi, Ellie Bamber

Genres Romance, Comedy

Red, White & Royal Blue is a traditional romantic comedy that turns traditions on its head. Director Matthew López adorably adapts the New York Times bestseller into an undeniably cute film starring Taylor Zakhar Perez as Alex, the American president’s rough-around-the-edges son, and Nicholas Galitzine as Britain’s Prince Henry. The two young royals threaten to cause problems between the countries before agreeing to an armistice, ultimately resulting in unexpected feelings between the two. Narrated by Jemma Redgrave ( Doctor Who ) and featuring Uma Thurman as the US President, Red, White & Royal Blue is a fantastic rom-com for audiences of all genders, sexualities, and nationalities. – Yael Tygiel

'Secretary' (2002)

Rotten tomatoes: 78% | imdb: 6.9/10.

Release Date September 2, 2002

Director Steven Shainberg

Cast Patrick Bauchau, Jeremy Davies, James Spader, Maggie Gyllenhaal

Runtime 1 hr 47 min

Secretary is a sultry romance that will dominate your heart, making you submit to its charm and sexy seduction scenes. The film stars James Spader ( Boston Legal ) as a domineering and demanding lawyer who hires Maggie Gyllenhaal ( The Dark Knight ) as his secretary before they engage in an affair in which they explore each other’s limits through BDSM-style play. Though this comedy plays up sadomasochism for laughs, the text of the film doesn’t look down on the practice and, in fact, embraces it, allowing the two lovers to find themselves in their desires. It’s an off-beat romance that strays from the classic beats of the usual romcom and paves its own path to an original story that would later be mirrored in the Fifty Shades of Grey series.

'About Fate' (2022)

Rotten tomatoes: 63% | imdb: 6.4/10.

Release Date September 9, 2022

Cast Thomas Mann, Emma Roberts, Britt Robertson

Runtime 1 hr 40 min

Writers Tiffany Paulsen

Inspired by the cult classic Russian play, director Marius Vaysberg adapts About Fate for a modern American audience, enhancing the screen with an undeniably gorgeous cast. Starring Emma Roberts , Thomas Mann , Madelaine Petsch ( Riverdale ), Lewis Tan ( Shadow and Bone ), and Britt Robertson ( The Rookie: Feds ), About Fate focuses on the unexpected chaos of blossoming love between two people who find each other only to have every obstacle thrust upon their journey back to each other. With a message about the importance of love, About Fate is a charmingly quaint romantic comedy. – Yael Tygiel

'Somebody I Used to Know' (2023)

Rotten tomatoes: 71% | imdb: 5.7/10, somebody i used to know.

Release Date February 10, 2023

Director Dave Franco

Cast Kiersey Clemons, Danny Pudi, Alison Brie, Jay Ellis

Runtime 106 minutes

Directed by Dave Franco ( The Disaster Artist ) and co-written with his wife Alison Brie ( GLOW ), Somebody I Used to Know is a beautiful story about lost love and discovering who you are inside and outside of a relationship. Brie not only co-wrote the story but also stars as the main character, Ally, who reconnects with her old hometown ex-boyfriend Shaun ( Jay Ellis ) the week of his wedding. The fiancé, played by Kiersey Clemons , connects with Ally in a way that makes them both reflect on their relationships with the man they share feelings for. Ellis and Brie have so much chemistry on screen that it makes the audience root for them to be together, but you also understand the draw towards Clemmons. The film captures a nuanced perspective on the “hometown ex” trope that is rarely seen in the modern rom-com and is bolstered by spectacular understated performances. – Tauri Miller

'Shotgun Wedding' (2023)

Rotten tomatoes: 45% | imdb: 5.4/10, shotgun wedding.

Release Date January 27, 2023

Director Jason Moore

Cast Jennifer Lopez, Lenny Kravitz, Josh Duhamel, Jennifer Coolidge

Runtime 101 minutes

Genres Comedy, Thriller, Action

If you like a bit of action with your cocktail of romance and comedy, Shotgun Wedding is the film for you. A destination wedding quickly goes sour when pirates take the guests hostage, leaving Darcy ( Jennifer Lopez ) and Tom ( Josh Duhamel ) to plan their escape and rescue their friends and family. Lopez and Duhamel lead this romp along with a host of character actors, including Jennifer Coolidge ( The White Lotus ), Cheech Marin ( Up in Smoke ), and D'Arcy Carden ( The Good Place ), that keep the comedy fresh and lively. Despite this being Jason Moore’s ( Pitch Perfect ) first foray into action-driven storytelling, he manages to deliver a film full of grit and playfulness. – Tauri Miller

'Something from Tiffany’s' (2022)

Rotten tomatoes: 70% | imdb: 6.2/10, something from tiffany's.

Release Date December 9, 2022

Director Daryl Wein

Cast Kendrick Sampson, Ray Nicholson, Shay Mitchell, Zoey Deutch

Runtime 1 hr 27 min

Genres Christmas, Romantic Comedy

Zoey Deutch ( Zombieland: Double Tap ) stars in Something from Tiffany’s , an adorably romantic movie by award-winning director Daryl Wein . Based on the book by Melissa Hill and with a script written by Tamara Chestna , Something from Tiffany’s i s a formulaic yet charming romp about a woman (Deutch) who receives an accidental engagement ring from her boyfriend ( Ray Nicholson ) and a man ( Kendrick Sampson ) intending to propose but discovers his ring has already inadvertently been given to someone else. The true highlight of Something from Tiffany’s is the top-tier cast, which also includes Shay Mitchell , and the clearly delightful chemistry they all exude. – Yael Tygiel

'My Policeman' (2022)

Rotten tomatoes: 45% | imdb: 6.5/10, my policeman.

Release Date November 4, 2022

Director Michael Grandage

Cast Harry Styles, Emma Corrin, Gina McKee, Linus Roache

Runtime 1 hr 53 min

Genres Drama, Romance

My Policeman explores an intense and devastating love triangle between a policeman named Tom ( Harry Styles ), schoolteacher Marion ( Emma Corrin ), and museum curator Patrick ( David Dawson ). Taking place in 1950s Britain, things are even more complicated due to the attraction between Tom and Patrick and the fact that homosexuality is illegal. My Policeman is simply heartbreaking, telling a story of forbidden love and lamenting lost time, diving into what happens when you’re not allowed to be yourself. Make sure to grab some tissues before watching this one. – Taylor Gates

'Love Accidentally' (2022)

Rotten tomatoes: 13% | imdb: 5.3/10, love accidentally.

Release Date July 15, 2022

Director Peter Sullivan

Cast Brenda Song, Denise Richards

Runtime 1 hr 25 min

Overflowing with traditional romantic comedy tropes, Love Accidentally is an adorably modern love story starring Brenda Song ( Dollface ) and Aaron O'Connell ( The Haves and the Have Nots ). Written by Robert Dean Klein , who is better known for writing dark and suspenseful TV movies, Love Accidentally is charmingly light and playful. Reuniting Song with Director Peter Sullivan ( Secret Obsession ), Love Accidentally proves that a solid team can create a solid movie. Love Accidentally is a cute and fun movie to watch on an autumn evening with a glass, or bottle, of wine. – Yael Tygiel

'Anything’s Possible' (2022)

Rotten tomatoes: 86% | imdb: 5.7/10, anything's possible.

Release Date July 22, 2022

Director Billy Porter

Cast Eva Reign, Abubakr Ali, Renee Elise Goldsberry

Runtime 1 hr 38 min

In Billy Porter ’s ( Pose ) directorial debut, Anything’s Possible is a beautiful story about two teenagers who fall in love. Starring Eva Reign in her feature debut as the young Kelsa, a confident high school senior with a talent for art who is transitioning while also falling in love for the first time with Khal, played by Abubakr Ali ( Katy Keene ). As their relationship blooms and the drama ensues, Anything’s Possible focuses on the universal issues of any new, young relationship, while writer Ximena García Lecuona ’s script allows this journey to unfold and challenge outdated expectations. –Yael Tygiel

'Sylvie's Love' (2020)

Rotten tomatoes: 93% | imdb: 6.8/10, sylvie's love.

Release Date December 23, 2020

Director Eugene Ashe

Cast Ryan Michelle Bathe, Tessa Thompson, Rege-Jean Page, Nnamdi Asomugha, Aja Naomi King, Eva Longoria

Runtime 1 hr 54 min

If it’s a swooning period piece you’re looking for, Sylvie’s Love is a guaranteed hit. A lush, lovely slow-burn, Eugene Ashe ’s romantic drama stars Tessa Thompson and Nnamdi Asomugha as a pair of ambitious creatives, who first spark a connection over their love of jazz in 1957 New York; a connection that ties them together for a passionate, decades-long love affair with intoxicating highs and heartbreaking lows. Cinematographer Declan Quinn frames a rich, sumptuous world for their love to take root, set to a fantastic and appropriately jazzy soundtrack. Sylvie’s Love moves a little too slowly at times, but all that time with the characters, and giving them so many moments to let the emotions breathe, also pulls you deeper into their lovely, though fraught, love story.

'Life Itself' (2014)

Rotten tomatoes: 13% | imdb: 6.9/10, life itself.

Release Date July 4, 2014

Director Steve James

Cast Werner Herzog, Roger Ebert, Martin Scorsese, Gene Siskel, Errol Morris, Chaz Ebert

Runtime 115

Genres Documentary

I cannot, in all good conscience, tell you that Life Itself is a good romance movie. It is, however, an absolutely baffling, unpredictable, one-of-a-kind cinematic experience that you have to see to believe. Just try to keep up with the emotionally terroristic twists and turns of Life Itself‘ s melodrama. Remember the first episode of This Is Us , and that big “Oh shit” moment of realization at the end? Life Itself is like the weaponized version of that, over and over again, in a completely ridiculous, cuckoo bananas, epic love story with an over-the-top wealth of talent in the ensemble. Proceed with caution, but also, do not miss it.

'Brittany Runs a Marathon' (2019)

Rotten tomatoes: 88% | imdb: 6.8/10, brittany runs a marathon.

Release Date August 23, 2019

Cast Jillian Bell, Utkarsh Ambudkar, Micah Stock, Lil Rel Howery, Michaela Watkins

Runtime 1 hr 43 min

Genres Comedy

Brittany Runs a Marathon is not the movie you think it is, in the very best way. The film stars Jillian Bell as an overweight woman who sets out to train for and run the New York marathon as a way to get in shape, which she also believes will change her life for the better. Changes do come, but they’re a mix of positive and negative as Bell’s character learns the hard way that her issues are related to who she is as a person rather than how she looks on the outside. It’s a surprising, sweet, and frequently hilarious comedy with a dash of romance for good measure. But it’s also genuinely moving, and Bell gives a star-making performance that deftly navigates both comedic and dramatic territory. Brittany Runs a Marathon isn’t just one of the best comedies of 2019, it’s also one of the best films of the year full-stop. – Adam Chitwood

'The Big Sick' (2017)

Rotten tomatoes: 98% | imdb: 7.5/10, the big sick.

Release Date March 30, 2017

Director Michael Showalter

Cast Linda Emond, Rebecca Naomi Jones, Ray Romano, Holly Hunter, Zoe Kazan, Kumail Nanjiani

Runtime 119

Genres Romance, Comedy, Documentary

Kumail Nanjiani and Emily Gordon ’s real-life love story serves as inspiration for the most delightful romantic comedy in years in The Big Sick . Directed by Michael Showalte r from a script by Nanjiani and Gordon, the film stars Nanjiani as himself and Zoe Kazan as Emily in the stranger-than-fiction story of two people falling in love despite clashing cultures, family expectations, and a mysterious life-threatening illness.

The story follows a standup comic (Nanjiani) who falls for a woman who heckles him (Kazan) at a show. He tries to hide the relationship from his parents, who expect a strictly traditional arranged marriage to a Muslim woman, but their romance faces an even greater hurdle when she falls into an inexplicable coma and he bonds with her parents (who you can't help but fall in love with thanks to the performances from Ray Romano and Holly Hunter ). Bursting with heart and earnest good nature, The Big Sick is a witty and charming exploration of love, commitment and family, and it’s a bonafide crowd-pleaser to boot.

'The Handmaiden' (2016)

Rotten tomatoes: 96% | imdb: 8.1/10, the handmaiden.

Release Date June 1, 2016

Director Chan-wook Park

Cast So-ri Moon, Hae-suk Kim, Min-hie Kim, Jin-woong Jo, Jung-woo Ha, Tae Ri Kim

Runtime 145

Genres Drama, Romance, Thriller, Documentary

The Handmaiden is the most downright gorgeous erotic thriller ever made. Liberally inspired by Sarah Waters ‘ British melodrama, Chan- wook Park gives the source material a cultural transplant to 1930s Japan-occupied Korea where Sook-Hee ( Tae- ri Kim ) takes a job as a handmaiden to the mysterious, troubled Lady Hideko ( Min- hee Kim ), sparking a passionate affair that reshapes their lives. Our entry point to the twisted tale is through Sook-Hee, a thief by trade and family tradition who is in fact teaming with a fake count Fujiwara ( Ha Jung-woo ) in a scheme to defraud Lady Hideko of her fortune, but when Sook-Hee falls for her mark, the fiendish plan is thrown for a loop as new layers of deception and manipulation are uncovered at every turn.

16 Best Romantic Movies on Amazon Prime Right Now (March 2024)

Home » Movies » Movie Reviews

‘A Journey’ Review – A Beautiful Yet Tragic Tale Of Death, Life, And Love

'A Journey' Review - A Beautiful Yet Tragic Tale Of Death, Life, And Love

A Journey is a heartwrenching Filipino drama about a woman with cancer setting out to complete her bucket list together with her husband and childhood friend. It’s a beautiful and compelling piece of filmmaking about what truly matters. 

I must warn you though, this film will make you very sad. 

A Journey opens with cancer survivor Shane, her husband Bryan, and their best friend Kristoff, aka Tupe, celebrating her 39th birthday at a karaoke bar. Kristoff is a famous television actor and Bryan works as his manager while Shane runs a coffee shop. The three have been friends since childhood, while Bryan and Shane have been in love for just as long. 

Not long after her birthday, Shane notices some worrying symptoms and goes to her oncologist. The news is devastating, Shane’s cancer has returned. After having suffered through chemo once before, Shane doesn’t want treatment this time. Instead, she wants to spend whatever time she has left getting through her “magic list” with Bryan and Tupe’s help. The list includes some fun items like seeing penguins, going snorkeling, and recreating her first date with Bryan, but also emotionally heavy goals like reconnecting with her estranged father. 

'A Journey' Review - A Beautiful Yet Tragic Tale Of Death, Life, And Love

A Journey (via Netflix)

A Journey is a heartfelt drama exploring themes of love, friendship, and the things that matter when faced with mortality. It may start with a bad karaoke scene, but this isn’t a feel-good romance where everything is honky dory in the end. The film offers an honest (and depressing) exploration of the often tragic reality of the human condition.

A devastated Bryan seems to accept his wife’s decision and even quits his job to spend time with her. He does, however, have an ulterior motive as he’s hoping Shane will agree to start her cancer treatments once the magic list is complete. Wanting to help, Tupe organizes an all-expenses paid trip to Tasmania for the trio. Shane is apprehensive about allowing her friend to pay for such an expensive trip, but she eventually relents. 

'A Journey' Review - A Beautiful Yet Tragic Tale Of Death, Life, And Love

A Journey | Image via Netflix

As lighthearted as the trio tries to be during their trip, the finality of their actions is never far from our minds. One compelling scene is where Tupe and Bryan debate whether life is about the journey or the destination. For Tupe, it’s about the destination, but Bryan sees the journey as more important. Shane, however, is acutely aware of how important each moment is and wants to spend her time making the most of it. 

The premise of a cancer patient choosing to live to the fullest in their final months has been done before, most notably in the 2007 tearjerker The Bucket List starring Morgan Freeman and Jack Nicholson. However, a movie doesn’t need to have a never-before-seen synopsis to be good. And that’s precisely what A Journey is. It’s a touching story about three childhood friends finding meaning in their lives in the face of devastating adversity.

I also broke down A Journey’s ending if you wanted some emotional support after that crushing climax.

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Article by Lori Meek

Lori Meek has been a Ready Steady Cut contributing writer since September 2022 and has had over 400 published articles since. She studied Film and Television at Southampton Solent University, where she gained most of her knowledge and passion for the entertainment industry. Lori’s work is also featured on platforms such as TBreak Media and ShowFaves.

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Journey's End

2010, Drama, 1h 18m

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Time seems to have ground to a halt at a retirement home in the remote Quebec countryside.

Genre: Drama

Original Language: French (Canada)

Director: Jean-François Caissy

Producer: Jean-François Caissy

Release Date (Streaming): Jan 3, 2019

Runtime: 1h 18m

Cast & Crew

Jean-François Caissy

Nicolas Canniccioni

Cinematographer

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Critic’s Pick

‘Civil War’ Review: We Have Met the Enemy and It Is Us. Again.

In Alex Garland’s tough new movie, a group of journalists led by Kirsten Dunst, as a photographer, travels a United States at war with itself.

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‘Civil War’ | Anatomy of a Scene

The writer and director alex garland narrates a sequence from his film..

“My name is Alex Garland and I’m the writer director of ‘Civil War’. So this particular clip is roughly around the halfway point of the movie and it’s these four journalists and they’re trying to get, in a very circuitous route, from New York to DC, and encountering various obstacles on the way. And this is one of those obstacles. What they find themselves stuck in is a battle between two snipers. And they are close to one of the snipers and the other sniper is somewhere unseen, but presumably in a large house that sits over a field and a hill. It’s a surrealist exchange and it’s surrounded by some very surrealist imagery, which is they’re, in broad daylight in broad sunshine, there’s no indication that we’re anywhere near winter in the filming. In fact, you can kind of tell it’s summer. But they’re surrounded by Christmas decorations. And in some ways, the Christmas decorations speak of a country, which is in disrepair, however silly it sounds. If you haven’t put away your Christmas decorations, clearly something isn’t going right.” “What’s going on?” “Someone in that house, they’re stuck. We’re stuck.” “And there’s a bit of imagery. It felt like it hit the right note. But the interesting thing about that imagery was that it was not production designed. We didn’t create it. We actually literally found it. We were driving along and we saw all of these Christmas decorations, basically exactly as they are in the film. They were about 100 yards away, just piled up by the side of the road. And it turned out, it was a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival, and he’d gone bankrupt. And he had decided just to leave everything just strewn around on a farmer’s field, who was then absolutely furious. So in a way, there’s a loose parallel, which is the same implication that exists within the film exists within real life.” “You don’t understand a word I say. Yo. What’s over there in that house?” “Someone shooting.” “It’s to do with the fact that when things get extreme, the reasons why things got extreme no longer become relevant and the knife edge of the problem is all that really remains relevant. So it doesn’t actually matter, as it were, in this context, what side they’re fighting for or what the other person’s fighting for. It’s just reduced to a survival.”

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By Manohla Dargis

A blunt, gut-twisting work of speculative fiction, “Civil War” opens with the United States at war with itself — literally, not just rhetorically. In Washington, D.C., the president is holed up in the White House; in a spookily depopulated New York, desperate people wait for water rations. It’s the near-future, and rooftop snipers, suicide bombers and wild-eyed randos are in the fight while an opposition faction with a two-star flag called the Western Forces, comprising Texas and California — as I said, this is speculative fiction — is leading the charge against what remains of the federal government. If you’re feeling triggered, you aren’t alone.

It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right. It’s one thing when a movie taps into childish fears with monsters under the bed; you’re eager to see what happens because you know how it will end (until the sequel). Adult fears are another matter.

In “Civil War,” the British filmmaker Alex Garland explores the unbearable if not the unthinkable, something he likes to do. A pop cultural savant, he made a splashy zeitgeist-ready debut with his 1996 best seller “The Beach,” a novel about a paradise that proves deadly, an evergreen metaphor for life and the basis for a silly film . That things in the world are not what they seem, and are often far worse, is a theme that Garland has continued pursuing in other dark fantasies, first as a screenwriter (“ 28 Days Later ”), and then as a writer-director (“ Ex Machina ”). His résumé is populated with zombies, clones and aliens, though reliably it is his outwardly ordinary characters you need to keep a closer watch on.

By the time “Civil War” opens, the fight has been raging for an undisclosed period yet long enough to have hollowed out cities and people’s faces alike. It’s unclear as to why the war started or who fired the first shot. Garland does scatter some hints; in one ugly scene, a militia type played by a jolting, scarily effective Jesse Plemons asks captives “what kind of American” they are. Yet whatever divisions preceded the conflict are left to your imagination, at least partly because Garland assumes you’ve been paying attention to recent events. Instead, he presents an outwardly and largely post-ideological landscape in which debates over policies, politics and American exceptionalism have been rendered moot by war.

The Culture Desk Poster

‘Civil War’ Is Designed to Disturb You

A woman with a bulletproof vest that says “Press” stands in a smoky city street.

One thing that remains familiar amid these ruins is the movie’s old-fashioned faith in journalism. Dunst, who’s sensational, plays Lee, a war photographer who works for Reuters alongside her friend, a reporter, Joel (the charismatic Wagner Moura). They’re in New York when you meet them, milling through a crowd anxiously waiting for water rations next to a protected tanker. It’s a fraught scene; the restless crowd is edging into mob panic, and Lee, camera in hand, is on high alert. As Garland’s own camera and Joel skitter about, Lee carves a path through the chaos, as if she knows exactly where she needs to be — and then a bomb goes off. By the time it does, an aspiring photojournalist, Jessie (Cailee Spaeny), is also in the mix.

The streamlined, insistently intimate story takes shape once Lee, Joel, Jessie and a veteran reporter, Sammy (Stephen McKinley Henderson), pile into a van and head to Washington. Joel and Lee are hoping to interview the president (Nick Offerman), and Sammy and Jessie are riding along largely so that Garland can make the trip more interesting. Sammy serves as a stabilizing force (Henderson fills the van with humanizing warmth), while Jessie plays the eager upstart Lee takes under her resentful wing. It’s a tidily balanced sampling that the actors, with Garland’s banter and via some cozy downtime, turn into flesh-and-blood personalities, people whose vulnerability feeds the escalating tension with each mile.

As the miles and hours pass, Garland adds diversions and hurdles, including a pair of playful colleagues, Tony and Bohai (Nelson Lee and Evan Lai), and some spooky dudes guarding a gas station. Garland shrewdly exploits the tense emptiness of the land, turning strangers into potential threats and pretty country roads into ominously ambiguous byways. Smartly, he also recurrently focuses on Lee’s face, a heartbreakingly hard mask that Dunst lets slip brilliantly. As the journey continues, Garland further sketches in the bigger picture — the dollar is near-worthless, the F.B.I. is gone — but for the most part, he focuses on his travelers and the engulfing violence, the smoke and the tracer fire that they often don’t notice until they do.

Despite some much-needed lulls (for you, for the narrative rhythm), “Civil War” is unremittingly brutal or at least it feels that way. Many contemporary thrillers are far more overtly gruesome than this one, partly because violence is one way unimaginative directors can put a distinctive spin on otherwise interchangeable material: Cue the artful fountains of arterial spray. Part of what makes the carnage here feel incessant and palpably realistic is that Garland, whose visual approach is generally unfussy, doesn’t embellish the violence, turning it into an ornament of his virtuosity. Instead, the violence is direct, at times shockingly casual and unsettling, so much so that its unpleasantness almost comes as a surprise.

If the violence feels more intense than in a typical genre shoot ’em up, it’s also because, I think, with “Civil War,” Garland has made the movie that’s long been workshopped in American political discourse and in mass culture, and which entered wider circulation on Jan. 6. The raw power of Garland’s vision unquestionably owes much to the vivid scenes that beamed across the world that day when rioters, some wearing T-shirts emblazoned with “ MAGA civil war ,” swarmed the Capitol. Even so, watching this movie, I also flashed on other times in which Americans have relitigated the Civil War directly and not, on the screen and in the streets.

Movies have played a role in that relitigation for more than a century, at times grotesquely. Two of the most famous films in history — D.W. Griffith’s 1915 racist epic “The Birth of a Nation” (which became a Ku Klux Klan recruitment tool) and the romantic 1939 melodrama “Gone With the Wind” — are monuments to white supremacy and the myth of the Southern Lost Cause. Both were critical and popular hits. In the decades since, filmmakers have returned to the Civil War era to tell other stories in films like “Glory,” “Lincoln” and “Django Unchained” that in addressing the American past inevitably engage with its present.

There are no lofty or reassuring speeches in “Civil War,” and the movie doesn’t speak to the better angels of our nature the way so many films try to. Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in “Civil War.” The very premise of Garland’s movie means that — no matter what happens when or if Lee and the rest reach Washington — a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.

Civil War Rated R for war violence and mass death. Running time: 1 hour 49 minutes. In theaters.

Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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journey's end rotten tomatoes

TAGGED AS: movies , news

Tuesday, April 9

Godzilla starts the day.

Hiro Matsuoka, President & CEO, Toho Company Ltd., speaks onstage during "The State of the Industry and a Special Presentation from Crunchyroll" during CinemaCon

(Photo by VALERIE MACON/AFP via Getty Images)

The King of the Monsters kicked off Tuesday’s presentations as Toho President and CEO Hiro Matsuoka led a look back at 70 years of Godzilla on the big screen . He went on to thank audiences and exhibitors for the success of Godzilla Minus One and acknowledged that while the film wasn’t a traditional recipe for success, after fans started a movement and encouraged others to join, it became a movie event around the world.

Crunchyroll Previews Theatrical Slate

Sony Pictures’ Crunchyroll was the first studio to present at CinemaCon 2024. After a look back at their biggest properties — Dragonball , One Piece , Demon Slayer , and others — Senior Vice President of Global Commerce Mitchell Berger reminded everyone that anime is here to stay and announced that anime in all of its forms is expected to earn $37 billion in 2025.

“Anime is made for the big screen, with its sweeping stories, dynamic animation, compelling characters, but also with the unique way it brings a passionate fanbase together.”

Warner Bros. Showcases Joker: Folie à Deux , Furiosa, Beetlejuice Beetlejuice , and More

The final presentation of the day was a big one, as Warner Bros. took the stage to showcase a slew of its most anticipated upcoming titles.

Furiosa: A Mad Max Saga

George Miller, Anya Taylor-Joy and Chris Hemsworth present Furiosa: A Mad Max Saga (2024) at CinemaCon in Las Vegas

(Photo by Stewart Cook/Getty Images for Warner Bros.)

The first film to get the big splashy treatment was  Furiosa: A Mad Max Saga , which opens in theaters on May 24, 2024. Stars Anya Taylor-Joy and Chris Hemsworth appeared alongside director George Miller to talk about their experiences making the film, which takes place over the course of 16-18 years before the events of Mad Max: Fury Road . Taylor-Joy expressed that she was more excited for this movie to be seen on a big screen than any of her previous projects, while Miller gushed over his two leads, talking about their transformative work. The trio concluded the presentation with an extended sneak peek of the film, broken into three chapters, that depicts the defining moments of Furiosa’s journey.

The Watchers

Superman and Super/Man

Peter Safran presents Super/Man: The Christopher Reeve Story at CinemaCon 2024

Offering a bit of a DC update, James Gunn appeared in a live update from the set of his 2025 film Superman , promising to share more about the film next year and expressing gratitude for all the Guardians of the Galaxy love. Following that, Gunn’s DC Studios co-CEO Peter Safran took the stage to provide an early look at the DC Studios slate for 2024 and to highlight the upcoming documentary Super/Man: The Christopher Reeve Story , which premiered at Sundance earlier this year to rave reviews. The film incorporates exclusive interviews and never-before-seen footage of Reeve to chronicle the star’s life and disability activism in the aftermath of his horse-riding accident in 1995.

Horizon: An American Saga

Kevin Costner presenting Horizon: An American Saga at CinemaCon 2024

(Photo by David Becker/Getty Images)

Kevin Costner then took the stage to present his epic two-part Western film Horizon: An American Saga . Costner spoke at length about the inspirations behind the film, what motivated him to tell the story in this way, and why he chose to play the character. The film has been a longtime passion project for Costner, who has tried to get it off the ground since as far back as 1988. Chapter 1 of the story is slated to release in theaters on June 28, 2024, and Chapter 2 will open on August 16, 2024. At the end of the presentation, Costner also received the CinemaCon Visionary Award.

Robert Pattinson and Bong Joon-ho at CinemaCon 2024

(Photo by Eric Charbonneau/Getty Images for Warner Bros.)

Next up was one of the more anticipated films of this year that was rescheduled for 2025, namely Mickey 17 from Oscar-winner Bong Joon-ho . An adaptation of the 2022 novel Mickey7 by Edward Ashton, the film stars Robert Pattinson as Mickey 17, a disposable human employee on an expedition to colonize an ice planet whose body can be regenerated each time he dies. Both Bong and producer Dooho Choi initially took the stage to talk about the film and present the first trailer for it, after which they were joined by Pattinson. The star explained what drew him to work with Bong and what it was like to play essentially multiple characters, while Bong revealed why he wanted Pattinson for the film.

M. Night Shyamalan speaks onstage during the Warner Bros. Pictures Presentation during CinemaCon 2024

Not to be outdone by his own daughter, writer-director M. Night Shyamalan also showed up to promote his own film, Trap , which is set to open in theaters this year on August 2. Those in attendance were treated to an exclusive first look at the film, which stars Josh Hartnett and another of Shyamalan’s daughters, Saleka , in a thriller about a dangerous killer who has been lured by the FBI into — you guessed it — a trap set up at a concert he’s attending.

Beetlejuice Beetlejuice

Michael Keaton, Director Tim Burton, Catherine O'Hara, Justin Theroux, Monica Bellucci, and Willem Dafoe on stage at CinemaCon 2024 to present Beetlejuice Beetlejuice (2024)

One of the larger ensembles amassed for the event came on stage to promote Tim Burton’ s upcoming sequel Beetlejuice Beetlejuice . Not only was Burton on hand, but he was joined by Justin Theroux , Monica Bellucci , Willem Dafoe , and returning stars Catherine O’Hara and, of course, Michael Keaton . Keaton explained he and Burton had been kicking around the idea of doing another Beetlejuice for some time and said, “I can tell you this, though. It’s really f—ing good.” All of the stars chimed in on their experience working on the film, with Bellucci calling out the beautiful costumes and Dafoe praising the handmade effects, and the presentation ended with a new look at the film’s trailer.

Joker: Folie à Deux

The final big presentation of the day came courtesy of Todd Phillips and his highly anticipated sequel Joker: Folie à Deux . The director took the stage and explained how the process of writing the film changed once Lady Gaga came on board; when discussing the musical nature of the film, he stated, “We never really talked about it like that,” and that it isn’t a “musical” so much as “music is an essential element” to the film. Then Phillips ended the presentation by unveiling the first trailer for the film, which you can watch just above.

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  1. Journey's End

    Journey's End brings R.C. Sherriff's 90-year-old play to the screen with thrilling power, thanks to director Saul Dibb's hard-hitting urgency and brilliant work from a talented cast. Read critic ...

  2. Journey's End (2017 film)

    Journey's End was released on 8 September 2017. The film received a wider theatrical release in Spring 2018, the centenary of the German spring offensive, the events of the German attacks which it depicts. Reception. Review aggregator website Rotten Tomatoes gives the film a score of 91% based on

  3. Journey's End movie review & film summary (2018)

    Journey's End. An intelligent, meticulously crafted drama about British soldiers in the trenches of World War I, "Journey's End" is the latest cinematic rendition of a play by a war veteran, R.C. Sheriff, which premiered in England in 1928 with Laurence Olivier in a lead role. While the play was a huge hit on both sides of the Atlantic ...

  4. Journey's End (2017)

    Journey's End: Directed by Saul Dibb. With Paul Bettany, Sam Claflin, Stephen Graham, Tom Sturridge. Set in a dugout in Aisne in 1918, it is the story of a group of British officers, led by mentally-disintegrating young Officer Stanhope, as they await their fate.

  5. Journey's End review

    It is a quietly horrible vignette of innocence: an Edenic world where the health of crocuses is something to worry about. The meeting of Raleigh and Stanhope is a silent cymbal clash of horror. To ...

  6. 'Journey's End' Film Review: Oft-Told WWI Tale Gets a Respectable

    "Journey's End" was originally written by English playwright R.C. Sherriff and first performed in 1928. Its intimate, suspenseful, and ultimately rather bleak portrayal of life and death in ...

  7. Review: 'Journey's End' Returns a Play About World War I to the Screen

    March 15, 2018. The World War I drama "Journey's End" is an old-fashioned movie from a well-worn source, the play by R.C. Sherriff, who fought in the war himself. The first movie version ...

  8. Journey's End review

    Journey's End is an ensemble affair, with Toby Jones's grumpy cook channelling Rowan Atkinson's Blackadder, and Asa Butterfield ( The Boy in the Striped Pyjamas, Hugo) as Raleigh, a bug-eyed ...

  9. Peter Travers: WWI Movie 'Journey's End' Will Shatter You

    March 13, 2018. 'Journey's End' may be an old-fashioned WWI movie, says Peter Travers - but that's what makes it so powerful. Read the Rolling Stone review. Over three days of fighting in March ...

  10. 'Journey's End' Review: A Small Beauty About the Great War

    When Stanhope discovers that Raleigh has sought him out, his reaction is utter dismay. The older man, driven to drink and the edge of madness by earlier battles, knows all too well what lies in ...

  11. Journey's End review: This old warhorse will get tears welling

    Journey's End celebrates tenderness under pressure. Well-connected youngster Raleigh (Asa Butterfield) pulls strings so he can join a beleaguered unit led by Captain Stanhope (Sam Claflin). The ...

  12. Journey's End review

    Saul Dibb's adaptation of the celebrated RC Sherriff play struggles to convey the claustrophobia of the trenches and lacks the assuredness of this summer's other major war movie, Dunkirk

  13. Journey's End movie review: where the war winds blow

    T his year is the centenary of the final year of World War I, and the cinematic commemorations are beginning with the new British film Journey's End.The last surviving veteran died in 2012 just short of the age of 111, so the experience of serving in the war has now passed out of living memory. But End puts us in the trenches with an intimacy that is profound and moving, and with an ...

  14. Journey's End

    Journey's End (1930) Journey's End (1930) Journey's End (1930) Journey's End (1930) See all photos. Movie Info. In 1917, an alcoholic captain experiences the misery of trench warfare.

  15. Journey's End

    March, 1918. C-company arrives to take its turn in the front-line trenches of norther France, led by the war-weary Captain Stanhope (Sam Claflin). With a German offensive imminently approaching, the officers (Paul Bettany, Stephen Graham, Tom Sturridge) and their cook (Toby Jones) use food and the memories of their lives before the war to distract themselves, while Stanhope soaks his fear in ...

  16. Review: Journey's End

    WWI trench warfare was a scary thing, and Saul Dibbs's JOURNEY'S END, an adaptation of the R. C. Sherriff play, ... A voting member of the CCA and a Rotten Tomatoes-approved critic, you can ...

  17. Journey's End Review

    Published on 29 01 2018. Release Date: 01 Feb 2018. Original Title: Journey's End. First performed barely a decade after the end of World War I, at a time when the wounds were still raw, Journey ...

  18. Journey's End Movie Review

    Parents need to know that Journey's End is a WWI-set drama that's based on a 1928 play by R.C. Sherriff. Based more on human concerns than big battle scenes, it's powerfully affecting and a fine examination of both the allures and miseries of war. Expect to see guns and shooting, death, dead bodies, and some….

  19. Predicting The Ending Of All 13 Fast & Furious Characters In Fast 11

    The Fast Saga is set to conclude with Fast & Furious 11 - the second volume of Fast X - but how will Dominic Toretto and his family's stories come to a definitive end? Throughout its entire run, the Fast & Furious franchise's M.O. has been to keep going indefinitely. The mainline series is 10 movies deep and seems to still be going strong, but the plan is to conclude the saga with Fast 11.

  20. 16 Best Romantic Movies on Amazon Prime Right Now (March 2024)

    I Want You Back. Release DateFebruary 11, 2022. DirectorJason Orley. CastClark Backo, Manny Jacinto, Scott Eastwood, Jenny Slate, Gina Rodriguez, Charlie Day. Continue reading. Runtime1 hr 51 min ...

  21. 'A Journey' Review

    A Journey is a heartfelt drama exploring themes of love, friendship, and the things that matter when faced with mortality. It may start with a bad karaoke scene, but this isn't a feel-good romance where everything is honky dory in the end. The film offers an honest (and depressing) exploration of the often tragic reality of the human condition.

  22. Journey's End

    Movie Info. Time seems to have ground to a halt at a retirement home in the remote Quebec countryside. Genre: Drama. Original Language: French (Canada) Director: Jean-François Caissy. Producer ...

  23. 'Civil War' Review: We Have Met the Enemy and It Is Us. Again

    Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor's face that, like Dunst's, expressed a nation's soul-sickness so vividly that it felt like an X-ray ...

  24. CinemaCon 2024: Day 3

    Sony Pictures' Crunchyroll was the first studio to present at CinemaCon 2024. After a look back at their biggest properties — Dragonball, One Piece, Demon Slayer, and others — Senior Vice President of Global Commerce Mitchell Berger reminded everyone that anime is here to stay and announced that anime in all of its forms is expected to earn $37 billion in 2025.