Let’s get this straight: The End? (or The End? L’inferno fuori, if you’re feeling fancy) is one of those films where you’re stuck in an elevator with a main character who spends more time freaking out than thinking about how to survive. Directed by Daniele Misischia, this 2017 Italian zombie horror-thriller introduces us to Claudio Verona, a businessman who finds himself trapped in an elevator just as a virus breaks out, turning people into zombies. And, while I won’t spoil everything about the ending, I will say this: you’ll likely wish the movie would end sooner than it does. Like, much sooner.
The plot kicks off when Claudio gets stuck in an elevator. Sounds like a terrifying setup, right? The suspense of claustrophobia, the potential danger of being stuck in a confined space, and the promise of a high-stakes zombie thriller. Well, buckle up, because that’s about as thrilling as it gets. The rest of the movie is like watching someone struggle to get out of a stuck elevator, except in this case, the elevator is the film itself—and you’re stuck in it with them.
The Plot: A Corporate Survival Guide to Failing Fast
Claudio Verona, our protagonist (played by Alessandro Roja), is a successful businessman. Which, in the context of this movie, is about as useful as a screen door on a submarine. He’s on his way to a crucial meeting, but, lo and behold, he gets trapped in the elevator. And that’s when things start going downhill—literally. The movie’s title could have easily been The Elevator since, let’s face it, that’s about the extent of the film’s range. He spends the majority of the movie in that claustrophobic box, waiting to either be saved or transformed into zombie chow. It’s hard to tell which would be a worse fate.
At first, the elevator feels like a sanctuary. After all, it’s enclosed, and as we all know, the zombies haven’t figured out how to use elevators. But soon, reality sets in—while he’s stuck in his high-rise tower, the entire city is being overrun by an infectious virus that transforms people into bloodthirsty zombies. And Claudio… well, he watches the chaos unfold like a helpless bystander with access to an unlimited amount of indoor panic attacks.
In a stunning move, the filmmakers made the bold decision to stretch this premise for about 90 minutes. Why not? Who doesn’t love watching someone try and escape their own confined hell for an hour and a half, right? The most excitement you get is watching Claudio nervously try to call his wife (Lorena, voiced by Carolina Crescentini) for help, which only reinforces the one glaring flaw in the entire movie: the characters are about as active as the zombies they’re trying to avoid.
The Characters: Stuck in the Elevator of Your Emotions
Let’s talk about the characters for a second. Claudio is supposed to be this successful, sharp businessman, but his ability to react to life-threatening situations is about as impressive as a paper towel in a flood. The second things go awry, he loses his cool faster than you can say “virus outbreak.” Instead of taking charge, he spends an unreasonable amount of time watching the chaos unfold and talking to people who aren’t even there (his wife on the phone and the building maintenance tech who’s clearly not coming to save him). If the zombie apocalypse was waiting for a hero, it certainly didn’t get one here.
And speaking of not being a hero, let’s talk about the ally Claudio eventually teams up with—Marcello (played by Claudio Camilli). You know, for a movie that’s supposed to be about survival and fighting against the odds, you’d think the team-up would at least have a little charm or competence. But no. Marcello’s character is just as pointless as a non-functioning elevator button. Instead of being the tough, gritty sidekick, he mostly stands there and reacts to things happening around him. He’s the human equivalent of a zombie: vacant, confused, and ultimately unhelpful.
Then, we get the zombies themselves—except, calling them “zombies” feels like an insult to the genre. These are more like “sleepy-time zombies” that seem to wander around like they’re looking for the nearest exit to go home and take a nap. Maybe that’s why the elevator scenes are the most gripping: it’s the only time you don’t feel like you’re watching a zombie movie that needs more coffee. The tension in the film? Nonexistent. The horror? Like an IKEA shelf falling over—loud, but not at all effective.
The Horror: Not Even a Scream Can Save This
Now, this is supposed to be a horror film. And by all means, it should have been scary. A confined space. A virus that turns people into zombies. It’s like the perfect recipe for something terrifying. But, sadly, The End? doesn’t quite know what to do with these ingredients. It’s like watching a zombie movie where the zombies are the least frightening part. The real horror here is the film’s utter inability to maintain suspense or do anything interesting for long periods of time.
There are moments that are supposed to be tense—like when Claudio’s on the phone with his wife or when he’s trying to figure out how to escape—but they feel more like filler scenes in a movie that had no clue how to pad its runtime. The zombies? They’re barely even a threat until they’re basically knocking at the elevator door. And even then, the elevator door becomes the most interesting thing in the room. It’s made of wood and probably more terrifying than anything that happens in the actual plot.
And then, there’s the climax. Without spoiling too much, let’s just say it’s about as satisfying as getting stuck in a traffic jam. You see, the ending is one of those “oh, that’s it?” moments where you realize that not only did you waste your time, but the film didn’t even bother trying to make the conclusion worthwhile. It’s like they took the elevator metaphor a little too far. The plot just gets stuck—and stays stuck.
Conclusion: The End? More Like The Beginning of My Existential Crisis
In conclusion, The End? is a film that leaves you asking the wrong questions, like “Why did I watch this?” and “Is the elevator ride over yet?” The zombie action is weak, the characters are forgettable, and the entire premise feels like it’s begging for a better movie. The real horror here isn’t the zombies or the claustrophobia—it’s the realization that you’ve just watched a film that’s somehow less engaging than the process of waiting for an elevator.
The only thing that might save you from this cinematic nightmare is if you, like Claudio, manage to escape to a place where better films exist. Because The End? is a prime example of a movie that deserves to be stuck in its own elevator—forever.
