Jonathan Sobol’s A Beginner’s Guide to Endings attempts a blend of Snatch’s crime caper energy and The Royal Tenenbaums’ quirky family dynamic. The result is a dark comedy that balances violence with one-liner humor. While this combination can feel mismatched, the film’s energy, stylistic choices, and strong cast make it worthwhile. Though the tonal shifts may be jarring, the film offers a unique viewing experience.
The film introduces us to Duke White (Harvey Keitel), a gambling addict and negligent father. Duke signed three of his sons up for an experimental drug trial that drastically shortened their life expectancies. As compensation, each son received $100,000, which Duke gambled away. This leads to his failed suicide attempt and the revelation of the sons’ fate at Duke’s will reading, overseen by his priest brother Pal (JK Simmons).
Duke’s sons react to the news in distinct ways. Nuts (Jason Jones) tries to revive his boxing career, training his naive brother Juicy (Jared Keeso) as a punching bag. Cal (Scott Caan), a serial dater, seeks to settle down with Miranda (Tricia Helfer), who has a reputation for marrying men who die mysteriously. Jacob (Paulo Costanzo), the responsible one, quits his job to pursue a bucket list of reckless activities with his younger brother Todd (Siam Yu). Sobol interweaves these stories, blending dark comedy with slapstick and a magical, coincidental ending.
The success of A Beginner’s Guide to Endings hinges on its cast. Jason Jones shines, balancing comedic timing with a surprisingly straight portrayal. Scott Caan reprises his smooth-talking persona from the Ocean’s Eleven films. Tricia Helfer brings a seductive energy to the role of Miranda, culminating in a memorable fight scene with her biker ex-boyfriend. Harvey Keitel’s limited screen time is impactful. Paulo Costanzo’s character feels like a cliché, and his adventures don’t quite land.
While A Beginner’s Guide To Endings isn’t consistently hilarious, Sobol maintains a fast pace, ensuring the film remains engaging. Similar to Guy Ritchie’s style, Sobol employs editing techniques and cinematography to enhance each scene. He uses varied film stocks, split screens, and montages. This stylistic approach contributes to the film’s heightened tone. Although flawed, Sobol’s approach is entertaining and positions him as a Canadian filmmaking talent to watch.
If Sobol focuses his vision, his future projects promise to be even more entertaining. A Beginner’s Guide to Endings, despite its imperfections, is a worthwhile cinematic journey.
