40
The Freemans’ minivan is moving 35 miles per hour, max, in every scene set in the car. They needed a lot more horsepower in order to convey a sense of urgency and thrill, and I’m not just talking about the van.
What are people saying?
What are critics saying?
40
Director and cast do their best — well, maybe not their best, but their competent professional duty — with a formulaic, contrived screenplay. Still, the results do no one much credit, landing closer to overripe cheese than taut suspense, or even guilty-pleasure terrain.
50
The Hollywood Reporter by Jordan Mintzer
There’s definitely some gas in its tank in the opening sections, which are somewhat promising, but then the story takes a predictable route that fails to deliver enough suspense or interest to go the full distance.
70
The New York Times by Natalia Winkelman
Even when the movie wants for tension, it brims with playful style.
30
Los Angeles Times by Noel Murray
It’s as though the filmmakers couldn’t decide on one complication to set the action in motion, so they picked six. That much narrative congestion keeps the story from really moving.
75
Chicago Sun-Times by Richard Roeper
End of the Road was produced for maybe 10% of the budget allotted for the big, bloated, star-studded Netflix thrillers “The Gray Man” and “Red Notice” (both reportedly cost some $200 million to make), and it doesn’t come close to approaching the glamour value, breathtaking location shots and epic action sequences of those two films — but it’s better at executing its mission, which is to immerse us in 90 minutes of old-fashioned bloody vigilante satisfaction.