Until the End of the World
Roadshow Film Distributors | Release Date: December 25, 1991 CRITIC SCORE DISTRIBUTION
63
METASCORE
Generally favorable reviews based on 12 Critic Reviews
Positive:
5
Mixed:
7
Negative:
0
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Critic Reviews

Critic scorePublicationBy date
100
The GuardianJordan Hoffman
The scenes of artistic, scientific and communal triumph were significant. The isolated, solipsistic anger of each character, lost in their own identity loop, seemed like a perfect analogy for the conflicts in eastern Europe in the mid-1990s. Read full review
90
Washington PostJoe Brown
It's a stunning experience that leaves the viewer disoriented, maybe even confused, but certainly entertained and somehow hopeful. Read full review
88
Washington PostHal Hinson
Wenders weaves all his thematic and narrative threads together into a coherent, philosophical whole. Even with the apocalypse, though, his view isn't despairing. A new direction, a new beginning emerges out of the ashes of the old, image-overloaded world, and with it, a sort of muted optimism. Read full review
83
Entertainment WeeklyLawrence O'Toole
Wenders’ weird and wired view of the near future tempts replay as often as the sensational soundtrack (U2, Talking Heads, Patti Smith). Read full review
80
Village Voice
To watch the 158-minute 1991 theatrical cut of Until the End of the World, Wim Wenders’s globetrotting, apocalyptic, pop-rock-saturated sci-fi odyssey, is to zone in and out of a meandering, wistful dream. Read full review
60
The New York TimesCaryn James
The longer it gets, the loopier it gets. [19 Jan 1992, p.13]
50
Austin ChronicleKathleen Maher
What starts out promisingly enough continues considerably beyond the end of the world and wears out even the most determined Wenders fan. Read full review
50
Chicago Sun-TimesRoger Ebert
The movie itself, unfortunately, is not as compelling as the tempest that went into its making. Read full review
50
TV Guide MagazineStaff (Not Credited)
Once the film gets bogged down in the outback, however, it comes to a virtual stop. Wenders seems to be saying something pretty banal about the emotional emptiness of the recorded image as opposed to the "real thing." If that's the point, why make a film at all? Read full review
50
The Seattle TimesJohn Hartl
Despite all of the personalized Wenders touches, it ultimately resembles many a top-heavy, star-laden, special-effects-driven production from the major-studio assembly lines.
50
VarietyStaff (Not Credited)
In the logistically taxing effort to get all this on screen, Wenders has sacrificed some of his customary poetry. And the grand emotion and obsession needed to carry the two lovers around the world isn’t apparent in Hurt and Dommartin. Read full review
40
Time OutStaff (Not Credited)
Despite a few felicitous moments, the film is turgid, pretentious, and dramatically lifeless. Read full review
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