TheWrap by Steve Pond

Hawkes and Lerman are subtle, naturalistic performers who spin gold out of settings that could easily seem clichéd. You pretty much know that these guys are on the road to understanding, acceptance and reconciliation, but they fill in the details so quietly and surely that the deep ruts put in this road by a thousand other movies barely matter.

The Playlist by Asher Luberto

Adalsteins demonstrates a mastery of restraint, a rare ability to hold back emotions so that when they come, they pour forth like a broken dam.

IndieWire by David Ehrlich

Casually cathartic at times, cathartically casual at others, this affecting little film about fathers and sons knows that some wounds never heal, but it’s never too late to stop the bleeding.

The Film Stage by Jared Mobarak

Because Lerman and Hawkes are so good, Adalsteins can let their resentment and fear exist unspoken.

RogerEbert.com by Matt Zoller Seitz

End of Sentence, a road trip film that starts in Alabama and ends in Ireland, is another performance to place in Hawkes' "All Time Best" file, a drawer so stuffed by this point that you can barely get the damned thing closed.

Chicago Sun-Times by Richard Roeper

This is lovely little gem.

The Guardian by Phuong Le

Elfar Adalsteins’ directorial debut captures well-trodden paths with fresh eyes.

Los Angeles Times by Kevin Crust

Hawkes is terrific with a softer-edged character than we’re used to seeing from the actor (“Deadwood,” “Winter’s Bone”). He’s heartbreaking in scenes where disappointment and resignation play across his face. Lerman is a fine foil, energizing scenes with his edgy impatience and willingness to be unlikable for the majority of the film.