7.3/10
22,109
82 user 179 critic

The End of the Tour (2015)

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2:31 | Trailer

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The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'

Director:

Writers:

(screenplay), (book)
4 wins & 16 nominations. See more awards »

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Cast

Credited cast:
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Sarah
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Julie
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David Lipsky's Editor
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Bookstore Manager
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Betsy
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Airline Ticket Agent
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NPR Host
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Hotel Front Desk Clerk
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Student #3
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United Ticket Agent
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Bookstore couple
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Storyline

The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'

Plot Summary | Plot Synopsis

Taglines:

Imagine the greatest conversation you've ever had.

Genres:

Biography | Drama

Motion Picture Rating (MPAA)

Rated R for language including some sexual references | See all certifications »

Parents Guide:

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Details

Official Sites:

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Release Date:

12 November 2015 (Brazil)  »

Also Known As:

A turné vége  »

Filming Locations:

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Box Office

Opening Weekend:

$123,238 (USA) (2 August 2015)

Gross:

$2,993,669 (USA) (13 December 2015)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

It marks as the first cinema screenplay written by Donald Margulies, after a prolific work on TV. It's also his first film as a executive producer. See more »

Goofs

When Lipsky and Wallace arrive at the airport's parking lot to fly to Minnesota, only the characters' car has residue of snow under the windshield. If this was truly the snow-filled environment the film portrays, surely other cars would also show signs of this. See more »

Quotes

David Foster Wallace: There's a thing in the book about how when somebody leaps from a burning skyscraper, it's not that they're not afraid of falling anymore, it's that the alternative is so awful. And so then you're invited to consider what could be so awful that leaping to your death would seem like an escape from it. I don't know if you have any experience with this kind of thing. But it's worse than any kind of physical injury. It may be in the old days what was known as a spiritual crisis: feeling as though ...
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Connections

References Happy Gilmore (1996) See more »

Soundtracks

City Sickness
Written by Stuart A. Staples (as Stuart Staples), Dickon Hinchliffe, David Boulter, Neil Fraser, Mark Colwill, Alasdair Macauley (as Alasdair MaCaulay)
Performed by Tindersticks
Courtesy of Island Records Limited under license
from Universal Music Enterprises
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User Reviews

 
Could very well remain my favorite film of the year
18 August 2015 | by See all my reviews

Rarely am I enlightened by a film in the way I was by this one. Not that I was lectured or taught something, but that I had a visceral response to what I had experienced on screen that I wouldn't be able to explain but to ask you to recall a song or a book or a show that invited you to pour your soul into it and in return reminded you of what it was like to have one. I was reminded that films can do this.

I don't expect everyone to like it to the degree that I did because I can only base my strong inclination towards this movie on the connection I personally made with it which was emotional rather than intellectual, although the film is rich and lingering in its intellect as well, and of course; I recognize what makes this film profound, which I'll try to explain.

This is a talky film from director James Ponsoldt, who I'd now have to rank as one of my favorite contemporary directors after this and another I've seen and loved, The Spectacular Now. This director isn't one you'd normally find on a list ranking among the greatest working today because he's not about style and doesn't appeal to the ego as much as other contemporaries such as Wes Anderson and David Fincher do (in addition to many others, not to single them out). No, Ponsoldt is subtle and reserves his ego. He is unimposing on the lives of his characters and candid about what his films are trying to do and say, not hiding beneath film rhetoric or allegory or the impression of a representational work. And what's great about this is how his films point out that you don't need intricate sets or perfectly symmetrical shots to create beauty. This film has some of the most beautiful shots I've seen (the shot of them walking in the snow, the shot of the normally- withdrawn Wallace dancing), all the more so because of their subtlety, giving the feeling that the beauty was discovered and not created by the director.

But the beauty is often created by the actors. Ponsoldt trusts his actors and puts his efforts towards making the characters come alive before our eyes. I was under the fantastic impression that I was witnessing a completely real human soul with Segel's performance. He felt so real, so three dimensional. I understand him, even though I am not him. This is more magical to me than sweeping camera movements or extravagant art direction.

I didn't realize when watching the film that the dialogue is all based on, if not directly taken from, the tapes journalist (and protagonist) David Lipsky (Eisenberg) recorded of his interviewee, universally acclaimed novelist David Foster Wallace (Segel). The dialogue is rich with insight into the character's thought processes and their observations on life (but mostly those of Wallace). I was riveted at every moment the two were talking, feeling as though being revealed before me were the truths of life. The thrill of being a fly on the wall. And it's not just the words containing the wisdom of the thoughtful and complicated Wallace, but the delivery via the actors and the way in which the many hours of tape are edited to allow Wallace's ideas and observations to resonate. Even beyond Wallace's ideas, the film cuts to the core and observes Wallace as a human being, not different for his brilliance but the same for his humanness.

The film is about so many things it would be overwhelming to attempt list all of them. Its ideas, however many, are all-encompassing of what it means to exist, which is, beyond the desire for fame and ego-boosts, to want to be understood. The film observes how the inner-worlds of all people are so uniquely complicated and pays tribute to that wonder. I'll be relating my experiences to this film in time to come.


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