Im Thinking Of Ending Things 2020

 I Thinking Of Ending Things 2020

MOVIE INFORMATION

Directed by-Charlie Kaufman

Screenplay by-Charlie Kaufman

Based on -I'm Thinking of Ending Things by Iain Reid

Produced by-Anthony Bregman, Charlie Kaufman, Robert Salerno, Stefanie Azpiazu

Starring-Jesse Plemons, Essie Buckley, Toni Collette, David Thewlis

Cinematography-Łukasz Żal

Edited by-Robert Frazen

Music by-Jay Wadley

Production companies-Likely Story, Projective Testing Service

Distributed by-Netflix

Release date -August 28, 2020

Running time-134 minutes

Country-United States

Language-English

Cast- Jesse Plemons as Jake, Ryan Laughter Steele as Dancing Jake, Jessie Buckley as Young Woman (who is referred to by several names throughout the film, including Lucy, Louisa, Lucia, and Ames), Unity Phelan as Dancing Young Woman, Toni Collette as Mother, David Thewlis as Father, Guy Boyd as Janitor, Frederick E. Wodin as Dancing Janitor,Hadley Robinson as Laurey and Tulsey Town Girl 1, Gus Birney as Aunt Eller and Tulsey Town Girl 2, Abby Quinn as Student[f] and Tulsey Town Girl 3, Colby Minifie as Yvonne, Anthony Grasso as Diner Manager, Teddy Coluca as Diner Customer, Jason Ralph as Yvonne's Boyfriend, Oliver Platt as The Voice (of the animated pig).

Nothing is as it seems when a woman experiencing misgivings about her new boyfriend joins him on a road trip to meet his parents at their remote farm. When I accepted the assignment to review Charlie Kaufman’s new movie, “I’m Thinking of Ending Things,” I vowed that I would avoid the recursive, self-conscious, Kaufmanesque flourishes that afflicts so much writing about this screenwriter and filmmaker. What follows is the record of my abject failure to live up to that promise. In my defense: He made me do it.

Exercising professional due diligence — in other words, seizing an opportunity to procrastinate on deadline — I acquired a copy of “Antkind,” Kaufman’s recently published novel, only to discover that I’m a minor character in it. A few hundred pages after faintly praising me as “a nice enough fellow and I’m sure a very smart guy for a hack,” the book’s narrator (a quondam critic with nothing nice to say about Charlie Kaufman) challenges me to a barroom argument about cinema. I barely get a word in edgewise, and in the wake of his “vanquishment of A.O. Scott,” my fictional nemesis makes a bold prediction: “Never will he write again. Of that I am certain.”

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