KinMovie Ending Explained (In Detail)

Spoilers Alert:

Two brothers, a road trip and a futuristic weapon in between – this sci-fi adventure scenario KIN Unfortunately, the two Australian directors Josh and Jonathan Baker only manage to combine things mediocrely. We reveal more about this in our review.

The Plot Summary

During one of his forays into an abandoned, ruined area, teenager Eli (Myles Truitt) finds a mysterious object that appears to be out of this world. At first he keeps his discovery a secret, but when he and his brother Jimmy (Jack Reynor), who has just been released from prison, escape from his old gang boss (James Franco), Eli repurposes the device, which turns out to be a powerful, supernatural high-tech weapon to help his brother. He has no idea that this will make them even more the hunted. Suddenly not only the police are after them, but also the alien forces who once left the weapon behind and want it back – at any price!

Movie explanation of the ending

Nowadays, film studios are more concerned than ever that their productions make as much money as possible. This means that franchises are simply canceled in the middle if they are denied big returns (current examples: the “Divergent” series or “Percy Jackson”), but also that promising material is riskily spread across several films. such as the recently launched “The Darkest Minds – The Survivors”, which was clearly a start to a series but flopped on a qualitative level, or the reboot of “The Mummy”, which directly establishes an entire monster universe should. It’s similar with “Kin”. However, the latest project from the Baker brothers Jonathan and Josh is neither based on a book series nor does it have its origins in a comprehensive universe idea. Instead, this is the long version of a short film called “Bag Man”, which basically tells the same story in 15 minutes that “Kin” now spends over 100 minutes on. This isn’t the first time that directors have expanded one of their short films to feature length; Using this principle, Damien Chazelle even received several Oscar nominations for his masterpiece “Whiplash”. But in contrast to this film, “Kin” hardly benefits from this, because on the one hand the material doesn’t carry the hour and a half and on the other hand it feels as if the makers still have big plans for their project.

Eli (Myles Truitt) and his foster father Hal (Dennis Quaid) have a conflicted relationship.

One reason that leaves this impression is the many open questions. The makers simply leave many elements in “Kin” open (including something as simple as the meaning of the film title; the word translation “Kin” in the sense of “tribe” or “family” does not apply given the story) and thus risk Due to its very open ending, viewers leave the cinema quite unsatisfied. But that’s not the only way those responsible are tripping themselves up. “Kin” actually consists of two films, of which the storyline surrounding Eli’s found sci-fi gun takes up a much smaller fraction than the lurid trailers suggest. It even goes so far that this subplot turns out to be downright annoying at some point, because basically “Kin” would be a much more likeable film without the occasional futuristic (action) elements that crop up. Most of the time, the script by Daniel Casey (currently writing the screenplay for “Fast & Furious 9”) simply focuses on the interaction between the two brothers, who have lost sight of each other for a long time and are now on Finally have the opportunity to get closer to each other again on this forced road trip. None of this is original, as the idea of ​​two estranged people coming together again through a catastrophe is the essence of every other disaster film. But Jack Reynor, who is visually very reminiscent of Chris Pine (“Detroit”) and the newcomer Myles Truitt, who is far superior to him in terms of acting (“Queen Sugar”) harmonize so well that this worn-out narrative pattern in “Kin” at least seems authentic.

But then there are the other aspects of the plot and even if they don’t take up too much screen time in the road movie, which is so quiet per se (we would particularly think of “Midnight Special” as a comparison), they are at least concise enough to have a significant impact on the entire film. Supervillain James Franco (“The Disaster Artist”), who does something like a stripped-down version of his “Spring Breakers” performance here, and his pals, consisting of transfer villains, are one of them. When they start hunting the two young men in the second half, their wannabe Tarantino attitude is in complete contrast to the otherwise so level-headed production. The way the bad guys are drawn here, you feel like you’re in one of Franco’s numerous B-movie thrillers, which unfortunately doesn’t have a particularly positive effect on “Kin” as a whole. At the latest in the final shootout, in which the brutal crooks unnecessarily cause the film’s body count to skyrocket in a bloody manner, the film finally falls into two parts – also because the sci-fi subplot now has much more space here than the hour and a half before.

Zoë Kravitz, Jack Reynor and Myles Truitt are on the run together in “Kin”.

If you look at “Kin” from start to finish, there are actually three parts. The first of them consists of the protagonist Eli finding the crazy weapon that no one else can use except him. The Baker brothers at least clarify the latter aspect right up to the end, although this cannot be said for all of the topics addressed in “Kin”. Quite apart from the fact that the futuristic cannon is only used very few times before the final shootout and the film would ultimately make sense even if everything that has to do with it were simply deleted from the film without replacement (like the makers also do with the character of Zoë Kravitz, who simply disappears from the film at times), it raises many more questions than enriching the film with exciting scenes. These include, above all, the sci-fi gadgets that are occasionally used here; The production design as a whole is also convincing. But it is only in the finale that “Kin” hints at what Eli, the weapon and the entire scenario could actually be about. So it may well be the case that the many futuristic aspects in “Kin” all have a deeper meaning and are not just there to spice up a well-known road movie scenario. But all of these explanations need at least a second part – and whether “Kin” in itself will convince audiences and critics so much that the studio will commission a (even downright necessary) sequel is a question at this point be doubted.

Conclusion: The visually appealing sci-fi road movie “Kin” raises so many questions that it needs at least a second part to be able to sort out the events. Unfortunately, the patchy production itself doesn’t make you want to delve further into the conflicts hinted at in the film.

“Kin” was originally scheduled for September 13th, but currently does not have a USA theatrical release.

Leave a Comment

Your email address will not be published. Required fields are marked *

Scroll to Top