The horror genre has a new name on everyone’s lips, and it isn’t attached to a franchise sequel or a streaming sensation. Alexander Ullom, a filmmaker who has been quietly building a devoted following, is now being championed as the potential heir to the throne of modern terror auteurs. The buzz reached a fever pitch this week following a string of film festival screenings and a viral social media campaign, prompting many to ask a simple question: Is Alexander Ullom the next great horror director?
The conversation centers on his latest work, It Ends, a film that defies easy categorization. The movie, which premiered to audiences on August 7, 2024, and carries a runtime of 131 minutes, is not a traditional slasher or haunted-house tale. Instead, it’s a searing psychological drama that uses the tropes of domestic terror to explore the suffocating reality of an abusive relationship. Ullom’s approach has drawn immediate comparisons to the likes of Ari Aster and Robert Eggers, not for their subject matter, but for their shared ability to put an unsettling, artful lens on deeply human pain.
At its core, It Ends tells the story of Lily Bloom, a woman whose carefully rebuilt life is shattered when her first love, Atlas Corrigan, reenters the picture. Her current relationship with Ryle Kincaid, a charismatic but abusive neurosurgeon, begins to unravel, forcing Lily to confront a devastating reality. The official synopsis describes her journey as a brutal awakening, where she “realizes she must learn to rely on her own strength to make an impossible choice for her future.” It’s a story about the quiet, creeping horror that exists behind closed doors, and Ullom’s direction is being hailed as the film’s most potent weapon.
The film’s cast is anchored by a powerhouse performance from Blake Lively as Lily. She carries the emotional weight of the narrative with a rawness that has already sparked awards chatter. Justin Baldoni, who also directs the project, plays the duplicitous Ryle, a role that sees him shedding his usual affable persona for something far more menacing. The supporting cast is equally formidable, featuring Jenny Slate as Allysa, Brandon Sklenar as the returning Atlas, and Hasan Minhaj in a dramatic turn as Marshall. Veteran actors Kevin McKidd and Amy Morton round out the ensemble as Lily’s parents, Andrew and Jenny, with Alex Neustaedter delivering a poignant performance as a younger version of Atlas.
The critical reception has been strong, with the film currently holding a TMDb rating of 6.951 out of 10. While that number might seem modest in an era of inflated scores, critics argue that it reflects a challenging, divisive work rather than a forgettable one. Many have pointed to Ullom’s ability to sustain dread over a two-hour-plus runtime without resorting to cheap jump scares. Instead, he builds tension through uncomfortable silences, lingering close-ups, and a sound design that keeps the audience on edge. The pacing is deliberate, almost suffocating, mirroring the psychological entrapment of its protagonist.
What sets Ullom apart, according to film scholars and long-time genre journalists, is his refusal to let the audience off the hook. It Ends is not a comfortable viewing experience. It forces a reckoning with the ways in which love can be weaponized, and how manipulation can be disguised as passion. This thematic density, coupled with his visual flair, has led many to declare him a visionary in the making.
Of course, the question of whether Ullom is truly the "next great" director is one that will be settled by his next project. But for now, the evidence is compelling. As the conversation continues, audiences are eager to see if his talent is a fluke or the beginning of a legendary career in the genre. For now, the film remains available for those brave enough to confront its unflinching look at the darkness that can reside in the most intimate of spaces.
Source: Variety
