Night's End

With a little sleight of hand and a well-executed metaphor, horror can encompass both the fun and the artifice of filmmaking. Night’s End may not be perfect, but it’s perfectly flawed.

Night’s End might be a cautionary tale about our preoccupation with revitalizing clichés, but it proves we have a rising horror star in Reeder. In my eyes, that’s a win for the genre, camp or not.

As soon as the tone moves from drama to comedy, all the work that was done showcasing Ken’s emotional fragility—e.g. a great pattern built by morning coffee and the fluctuating ratio between caffeine and milk revealing how frayed he’s become—is wiped clean.

Night’s End takes a bit too long to build up momentum.

The lo-fi horror film "Night's End" tries to combine old-fashioned haunted house chills with more contemporary technological terrors, but never quite figures out how to do that.

For a horror movie, Night’s End comes up awfully short in frights. Even the manufactured quick-cut “jolts” couldn’t alarm a toddler, even if the SHRIEK accompanying them would wake anybody.