Family and crime are a rare combination of themes for the genre. End of the Road is a thriller drama film directed by Millicent Shelton. This Netflix release stars Queen Latifah, Ludacris, Beau Bridges, Mychala Lee, and Shaun Dixon. Is there anything fresh for both the genre and the platform that is still up and down (film quality)?

Due to economic pressure, Brenda (Latifah) is forced to sell her house and move to her mother’s house in Houston, Arizona. Transfer day arrives; they drive to Arizona with their two children, Kelly and Cam, and their uncle, Reggie (Ludacris). While staying at the motel, they unexpectedly witnessed the murder of a cartel group in the next room. Reggie, who took the bag of cash next door, didn’t realize that he would put Brenda and her two children in grave danger.

An exciting premise; it turns out to be paid dearly with a ridiculous script. One of the biggest problems in the story is not only a matter of logic but is moral. I don’t understand how the uncle could give marijuana to his niece in one scene at the beginning. Everything went wrong from here. The mother seems to be the only person we can hold on to maintain the moral aspect of the story. It turns out I was wrong. The story looks all forced for each entry into the next conflict. One premise is built on a false premise. It’s wrong and immoral.

End of the Road is a family show with a story far from reasonable and uneducated. How could such an immoral script be written? If this is meant to be a comedy insert, it’s still inappropriate. The drama side is too serious for this. The premise of including a black protagonist in the territory of a white person is also not something interesting but instead demeans the story itself. Even though pro-Trump groups are attached to anarchists and racists, that doesn’t mean they force this to be packaged in the story. This film is not worth watching for audiences from any audience, especially families. It’s ridiculous. For the umpteenth time, Netflix has stabbed itself again.

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His hobby has been watching films since childhood, and he studied film theory and history autodidactically after graduating from architectural studies. He started writing articles and reviewing films in 2006. Due to his experience, the author was drawn to become a teaching staff at the private Television and Film Academy in Yogyakarta, where he taught Film History, Introduction to Film Art, and Film Theory from 2003 to 2019. His debut film book, "Understanding Film," was published in 2008, which divides film art into narrative and cinematic elements. The second edition of the book, "Understanding Film," was published in 2018. This book has become a favorite reference for film and communication academics throughout Indonesia. He was also involved in writing the Montase Film Bulletin Compilation Book Vol. 1-3 and "30 Best Selling Indonesian Films 2012-2018." Additionally, he authored the "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). Until now, he continues to write reviews of the latest films at and is actively involved in all film productions at the Montase Film Community. His short films have received high appreciation at many festivals, both local and international. Recently, his writing was included in the shortlist (top 15) of Best Film Criticism at the 2022 Indonesian Film Festival. From 2022 until now, he has also been a practitioner-lecturer for the Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts in the Independent Practitioner Program.


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