Reviews for Charlie Kaufman’s “I’m Thinking of Ending Things” have been lifted a week ahead of its Netflix premiere. As of today, the surreal horror thriller sits comfortably at a 90% rating at Rotten Tomatoes with praises across the board for its story and acting. Below is a selection of spoiler-free bits from some of the recent reviews. Additionally, new production stills and a press junket interview with Toni Collette have been added to the archives.

The Hollywood Reporter, David Rooney (August 27, 2020)
Toni Collette and David Thewlis, both riveting. The tragic grandeur of [Plemons’] performance and the aching burden of Jake’s secrets creep up on you, just like the chilly intimacy, the confronting stillness of the visuals by Żal, the gifted Polish cinematographer who shot Pawel Pawlikowski’s Ida and Cold War. I’m Thinking of Ending Things may ultimately withhold as much as it divulges, remaining open to interpretation, but like the thought lodged in Lucy’s head, it lingers.

Parade, Neil Pond (August 27, 2020)
Plemons, so good in so many things—from TV’s Fargo and Breaking Bad to movies like The Irishman and Game Night—has a boyish face that looks like it was made for hiding something else, probably something devious and unsavory, which serves him well here. Buckley, so hugely impressive as a country singer in the movie Wild Rose (2018) and on HBO’s Chernobyl, is about to wow you again in the new season of Fargo. Already acclaimed as one the most promising young actors in her native Ireland, she plays Jake’s girlfriend (unnamed in the novel) as if Lucy is as confused and clueless as we are. And Collette and Thewlis—you can’t take your eyes off them as they create a three-ring circus of master-class crazy, pulling things into a Twilight Zone-ish madhouse swirl of delirium.

Entertainment Weekly, Leah Greenblatt (August 27, 2020)
Buckley and Plemons are left to carry that water for much of I’m Thinking’s 134-minute runtime, and they’re both fantastically game, infusing the movie’s heady concepts with a naturalism that borders on heroic. Their job, they seem to know, is not to be actors so much as ambassadors to this planet: prisms refracting all the strange marvels contained in Kaufman’s great, jittery brain. In moments that portal is genuinely thrilling, but it can be exhausting, too; like being set down and left to wander, without a compass or a map, in the center of someone else’s dream.

The Chicago Tribune, Michael Phillips (August 27, 2020)
Kaufman’s latest comes to Netflix Sept. 4. (It’ll play a theatrical run in Chicago starting Friday at the Landmark Century Centre.) Before writing about it, I went back and revisited certain scenes near the end of this very free adaptation of Iain Reid’s novel. I wanted to see if I thought I saw what I thought I saw. You’ll know what I mean if you see it, too.

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