I want to be upfront about my attempt to evaluate this film fairly. Honestly, this first feature from writer-director Alexander Ullom will almost certainly end up on my list of the worst films of 2026. Drawing a loose connection to Jean-Paul Sartre’s 1944 existentialist play *No Exit*, “It Ends” follows four young adults (and I use that term loosely) – Phinehas Yoon, Mitchell Cole, Akira Jackson, and Noah Toth – who go on a late-night drive only to discover they're lost on an endless highway running through a dense forest with no obvious way out (*i.e.*, “no exit”). The story tries to add some horror elements to liven things up, but these poorly handled additions aren’t particularly frightening or helpful in clarifying the plot. At one point, for example, the confused group is attacked by fast-moving zombies, forcing them to run for their lives. This element reappears throughout the film, but it really doesn't have much of an impact on the overall story. What’s worse, the scene is so badly done that it’s more confusing than scary. Soon after things calm down and these lost people start talking about how strange everything is, they begin to wonder if they are trapped in another reality, maybe even a version of hell. This thought leads to lengthy, uninteresting conversations about existence—a mix of philosophy, petty arguments, and overwrought Gen Z anxieties—all set against the backdrop of a never-ending road trip where practical things like having enough gas (no matter where it’s going) seem unimportant. And that pretty much sums up what this pretentious film is like, even though it may have started with good intentions and a decent idea. The main problem is the underdeveloped screenplay. For instance, most of these long group discussions are dull and unfocused, lacking any real substance or insight compared to the original work that inspired it. Then there’s the horror aspect, which could have been more interesting if handled better and woven into the story more effectively. The filmmaking techniques are also baffling; much of the action is shot too dark or too close up, making it hard to see what's happening, especially during the zombie attack. And, naturally, there are a lot of plot holes, which are really unacceptable even for a first-time filmmaker. On one positive note, the film does get something right: it illustrates Sartre’s famous idea that “hell is other people,” as these characters discover to their dismay, giving new meaning to that statement and to the audience (I can't imagine being stuck with people like these forever; 89 minutes was more than enough for me). But this accurate observation isn’t nearly enough to redeem the film, especially since it ironically gives viewers a reason to skip it. Maybe I missed something about generational differences as an older viewer, but while watching, I kept wondering, “Are we there yet?”

Source on TMDB