Film critic Dana Stevens discusses the importance of strong movie endings in the context of 2024 cinema, highlighting the tendency towards sequels and franchise films that often sacrifice satisfying conclusions. She reminisces about memorable endings from past films and observes how certain 2024 releases evolve and take unexpected turns in their final acts.
film critic Dana Stevens emails with fellow critics—for 2024, Bilge Ebiri, K. Austin Collins, Alison Willmore, and Odie Henderson—about the year in cinema.Dana, you asked about endings, which immediately made me think about a funny back-and-forth my Vulture colleagues and I had a few weeks ago about the ending of. None of us could remember how the new movie ended, which was particularly hilarious because we’d all just seen the damn thing; this was a few days after it had screened for critics.
We were trying to remember it because the finale of the originalhad been so memorable and moving: “He was a soldier of Rome. Honor him.” That line still sends chills up my spine, 24 years later—and yes, I know that’s not theending, because there’s also that wonderful scene with Djimon Hounsou burying the little figurines in the Colosseum: “Now we are free. I will see you again—but not yet. Not yet!” So,great endings, while the new one’s got zero. And in the era of nonstop sequelization and splitting-into-two-parts-ification, it seems that we’re in grave danger of forgetting how to end movies well. One of the reasons I prefer cinema to TV is because of all the great endings that cinema has given me over the course of my life; it’s one of my favorite things about the art form. And one of the reasons studio executives and media CEOs probably hate the art form is because movies tendIf I had to talk about the truly great endings of the year, I’d probably have to talk aboutagain, and I/we have already talked about those titles. But more than any endings per se, what struck me this year was how many films seemed to change shape by the time they got to the close. Payal Kapadia’sbegins as a drifting, documentary-inflected drama about three women who work at a Mumbai hospital. But in its final act, it turns into something marvelously unclassifiable, as the three protagonists travel to a coastal town where their lives suddenly take on a magical realist qualit
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