Some movies aim for reinvention. Weekend at the End of the World just wants to throw you into the woods, crank up the chaos, and see if you laugh before the world ends.
Directed by Gille Klabin, best known for The Wave, Weekend at the End of the World is a horror-comedy that wears its influences proudly. The setup feels like a horror remix of Hot Tub Time Machine, all cabin-in-the-woods energy, portals, and escalating insanity. Best friends Karl and Miles think they have a chance to strike it rich, only to find themselves racing against an actual apocalypse. From the jump, the movie moves fast, sometimes too fast, firing off snappy dialogue and absurd situations before you have time to question the logic.
The real engine here is the chemistry between Cameron Fife and Clay Elliott. Both have solid comedic timing, but Fife in particular carries the film. Most of the jokes that land do so because of his delivery, and when the script wobbles, his performance keeps things afloat. Thomas Lennon is also a welcome presence and pretty much anchors the movie whenever he shows up. He has a way of grounding chaos, and his involvement alone gives the film an immediate boost. There are also some odd detours, including a weird but mostly harmless Adam Ray cameo that feels unnecessary but easy enough to shrug off.
Visually, the film is more impressive than it has any right to be. Shot on a sub-$300K budget in just 12 days, Weekend at the End of the World makes smart use of both CG and practical effects. The neon-splattered look, combined with Klabin’s in-house visual effects work, gives the film a playful, over-the-top vibe that fits its tone. One resurrection scene stands out as a highlight, not just for the spectacle, but for how much fun it seems to be having with itself. The film’s Best VFX win at Grimmfest feels earned.
Behind the scenes, the production model is arguably more interesting than the movie itself. Every crew member received equity, an unusually generous approach for an independent film. The team handled high-end VFX internally and opted for self-distribution, positioning the project as part of a growing wave of filmmakers trying to reclaim control in an overcrowded market. That ambition and craftsmanship are felt throughout, even when the story starts to sag.
And sag it does. The second act slows noticeably, and by the third act, the pacing becomes a real issue. What starts as fun, fast, and charming gradually turns into clock-watching territory. The story can feel choppy and awkward, with moments that simply do not make much sense if you stop to think about them. A few jokes miss hard, and when they do, the movie struggles to recover its momentum. It has been done before, and while this version is entertaining, it never fully elevates itself above middle-of-the-road genre fare.
Weekend at the End of the World is a roller coaster. It is dumb, loud, occasionally very funny, and often charming thanks to its leads. It is not trying to reinvent horror-comedy, just entertain, and for stretches it succeeds. Still, with this cast, this energy, and this much going for it, it is hard not to wish it had pushed a little harder. Worth a watch for genre fans and festival crowds, even if it leaves you wondering why you felt bored when all the pieces were right there.
Jessie Hobson