The Living End (film)
| The Living End | |
|---|---|
.jpg)
Theatrical release poster
|
|
| Directed by | Gregg Araki |
| Produced by | Jon Gerrans Marcus Hu Jim Stark |
| Written by | Gregg Araki |
| Starring | |
| Music by | Cole Coonce Sascha Konietzko |
| Cinematography | Gregg Araki |
| Edited by | Gregg Araki |
|
Production
company |
|
| Distributed by | Cineplex Odeon Films |
|
Release date
|
|
|
Running time
|
84 minutes |
| Country | United States |
| Language | English |
| Budget | $22,769 |
| Box office | $692,585 |
The Living End is a 1992 American comedy-drama film by Gregg Araki. Described by some critics as a "gay Thelma and Louise," the film is an early entry in the New Queer Cinema genre. The Living End was nominated for a Grand Jury Prize at the Sundance Film Festival in 1992.
Luke is a restless and reckless drifter and Jon is a relatively timid and pessimistic film critic. Both are gay and HIV positive. After an unconventional meeting, and after Luke kills a homophobic police officer, they go on a road trip with the motto "Fuck everything."
The film's soundtrack is mostly industrial, post punk and shoegazing music. Many references to bands and their members are made throughout the film. Joy Division's Ian Curtis is mentioned, along with Dead Can Dance, Echo & the Bunnymen and others. A Nine Inch Nails sticker is on the dashboard of Jon's car. The film's title comes from a song by The Jesus and Mary Chain, and a cover version of the JAMC song is performed by Wax Trax! Records artists Braindead Soundmachine during the film's credits. Early in the movie, Luke is seen wearing a JAMC shirt. Braindead Soundmachine guitarist Cole Coonce is credited with scoring the film's original music.
Janet Maslin of The New York Times found The Living End to be "a candid, freewheeling road movie" with "the power of honesty and originality, as well as the weight of legitimate frustration. Miraculously, it also has a buoyant, mischievous spirit that transcends any hint of gloom." She praised Araki for his solid grasp on his lead characters' plight and for not trivializing it or inventing an easy ending. Conversely, Rita Kempley for The Washington Post called the film pretentious and Araki a "cinematic poseur" along the lines of Jean-Luc Godard and Andy Warhol. The Living End, she concluded, "is mostly annoying".Rolling Stone's Peter Travers found The Living End a "savagely funny, sexy and grieving cry" made more heart-rending by "Hollywood's gutless fear of AIDS movies".
...
Wikipedia