It Ends (2025) Movie Review: An Indie Road Thriller that Thrives on Existential Horror

The synopsis of It Ends (2025) will read something like a tightly knit sci-fi mystery, but its core offers a newfound peace in acceptance and ownership. Written, edited, and directed by Alex Ullom in his debut, the premise revolves around a group of four friends in their late teens who get stuck on a highway that goes on forever. The robustness of the film lies in its grounded treatment despite the speculative nature of its genre. Rather than echoing ideas that worked in “Coherence,” “Predestination,” or “Triangle,” “It Ends” finds its own colours with aplomb.

Hardly touching the ninety-minute mark, the plot setup is done in a jiffy, allowing it to fully accomplish what it set out to do. With a shoestring budget, the narrative totally banks on its script. Right from the moment Tyler (Mitchell Cole) accidentally takes a turn, unaware of where it will lead him, the eeriness starts dripping in. The distinguishable traits of its central characters are what make the entire outing a personal, meaningful one for the audience.

The riders travelling with Tyler are Day (Akira Jackson), James (Phinehas Yoon), and Fisher (Noah Toth), who all impress us with their performances. The heated scene when the gang slips off the road and almost crashes the car introduces them to the reality they are forced to face. A group of rampagers emerging from the woods and bombarding their vehicle sets off their never-ending journey.

Alex’s clear-headedness while writing can be vividly felt in the way he’s set the boundaries of the story world. The sound design is thoroughly utilised to ooze in the dreary atmosphere, which enhances the ambiguity. Even though some might argue that the film plays it safe by not reaching the extremes of its abilities, a counter can be made that is what makes it distinctive. The dilemma between the intolerable need to derive reason out of everything and the quiet, calm embrace of destiny, which the characters are left with towards the end, delivers a deep message: Liberation is a choice.

The beautiful friendship between Day and Fish provides warmth as they support each other in being comfortable in their own skins, which counteracts the fate they’re suffering from. The humour they bring to the table, in addition to being relatable, puts things in perspective that there is a certain harmony in being the master of your own fate. The duo’s relationship livens the settings and prevents the second act from falling flat. The direction in which Alex furthers the theme and pulls it off with ease can be attributed to the pivotal arcs of these two characters.

Also Read: 10 Great American Movies That Explore Nihilism

The screenplay rarely loosens its grip, introducing new turns at regular intervals after the opening stretch. These surprises don’t feel ornamental; they sharpen the momentum and give the unfolding events a steady, controlled flow. The climax is shaped by a Sisyphus-like paradox, familiar in outline but revitalised through the clarity and conviction with which it is staged for the four central characters. Only when the first one out of the four breaks and gives in, it feels slightly unearned, whereas when one after the other puts their foot down, it makes us stand with them and understand their plight.

A major challenge inherently attached to movies that don’t switch between different locations is the redundancy, which can weigh it down. Even with its crisp runtime, “It Ends” tackles this problem through the plot developments it has in store. The genre shift from thriller to horror fully takes effect in the third act when it grows on the remaining passengers that they may have to confront the inevitable. James continues to be a tough nut to crack throughout the film and proves it until the very end when a simple reflex of joy he’s forgotten to relish comes back rushing, filling him with the definite truth he’s deliberately avoided all the time.

Treading a fine line with the contrary belief system of nihilism, the narrative cautiously handles this spectrum and rests its case against the said practice by empirically establishing its stance. When the gang crosses paths with others trapped on the same endless highway—people already exhausted or resigned—the film acquires a metaphysical dimension that deepens its impact and reframes what is at stake. If a sole rationale needs to be given for why this film might not disappoint, it is the uncoated explanation that the maker didn’t take his audience for granted.

The massive strength of “It Ends” is that it never gives you all the answers you’re looking for, nor does it edge out its purpose by sliding in an open-ending just for the sake of it. While some may critique it, that is exactly the philosophy it preaches. It asks you to sit with your unresolved emotions and, instead of desperately wanting to escape or finding a way around it, makes you look at the possibility that salvation comes from within.

Aside from premiering at SXSW and screening at numerous other festivals, it’s really implausible that the film hasn’t found a major distributor or streaming service yet, and is available only on Letterboxd Video Store to rent. Crafted with so much potential and poise, it’s no hyperbole to classify this as one of the sleeper hits of the year.

Read More: 20 Underrated Road Movies You Need to See

It Ends (2025) Movie Links: IMDb, Rotten Tomatoes, Wikipedia, Letterboxd
It Ends (2025) Movie Cast: Phinehas Yoon, Akira Jackson, Noah Toth, Mitchell Cole, Jon Linstad, Jenny Doyle, Ian Weir, Alexander Ullom
It Ends (2025) Movie Runtime: 1h 27m, Genre: Horror/Mystery & Thriller/Comedy