The End Of The Tour (2015)
The End Of The Tour (2015)
Critic Consensus: Brilliantly performed and smartly unconventional, The End of the Tour pays fitting tribute to a singular talent while offering profoundly poignant observations on the human condition.
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Critic Reviews for The End Of The Tour
The performances, the writing, the direction, Segel's D.F.W. impression, everything is just fine. But The End of the Tour is disgraceful. It feels like it's towing out the real Wallace's ghost to perform some soppy parody of himself.
It's a movie that makes thoughtful drama out of the essential insanity of celebrity journalism, wherein a star proclaims humility while a scribbler promises idolatry.
What we have here is a road trip about two guys talking. And it's riveting.
Despite a premise that seems anything but cinematic, "The End of the Tour" is an offbeat and fascinating film.
The End of the Tour is so effective because it's far too smart to engage in ominous foreshadowing.
Audience Reviews for The End Of The Tour
Jason Segel and Jesse Eisenberg star in the powerful character drama The End of the Tour. Based on a novel by Rolling Stone reporter David Lipsky, the film follows a five-day interview that Lipsky had with acclaimed novelist David Foster Wallace during Wallace's publicity tour for his novel Infinite Jest. Segel and Eisenberg give incredibly good performances and have great chemistry together. And, the discussions that the two have are fascinating; covering a variety of deep issues that are quite thought-provoking. However, the gritty film style can sometimes be distracting (though the rawness does add a certain reality to the scenes). The End of the Tour is an extraordinarily compelling film, and succeeds largely due to its sharp, witty dialog and the earnestness of the performances.
Experimenting with one-sentence reviews, and but also plus in the style of this film's subject, the inimitable David Foster Wallace, allows me to say that The End of the Tour is good in like the way that makes high-brow intellectuals, complete with black turtlenecks, white-framed-liberal-free-trade glasses, and Match.com profiles that reference Wittengensteinian praxis and well-researched Proust quotes, think they're sideline-spectators with the howling fantods at genetically superiors' like most significant life-event, but yet also the film fails to achieve full high-ejection, supra-orbitular virtuosity because while we get to know DFW's AM/PM TV-obsessed, like almost stereotypically basically totally-American self-perception, his fame, the thing that keeps him in a state of intra- and interpersonal solipsism and the thing that he's, during the whole Entertainment, like a orange-flashlighted construction worker screaming, howling, imprecating, "No, no, Lipsky, this way is only a carrot, not the brightly-lit Show you think you know!" and the thing that ultimately probably caused him to extinguish his map, is like totally unexplored because, aside from the sycophantic organizers, the people who burden DFW are largely absent and told but yet not shown.
If I hadn't read the book, and if I hadn't found it among a lacklustre movie selection on a transatlantic flight, I'm not sure I'd have watched the movie. Well cast, and well-written, but it's not so well-suited to the screen... And if I, the target audience, didn't really go for it, I'm not sure what the general audience will make of it; that's not to say that every movie has to please everyone, but suffice to say that this one's not for everyone.
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