This is Jody Comer's film throughout: the camera hardly leaves her from start to finish. Its a low-budget disaster/dystopia movie with some obvious references to climate change and how it could impact on ordinary people and society. The End We Start From isn't a classic disaster movie with overused CGI, a cast of thousands and a budget running into several hundred millions (thankfully) Its an insular, intimate portrait of one woman and her newly born baby trying to survive a terrible natural disaster and on this level, it largely works.

Comer gets some sterling, if fleeting acting support from Joel Fry, Katherine Waterson, Benedict Cumberbatch and Mark Strong, yet every scene is a platform for her acting ability. Sometimes she says nothing at all, just shows some wonderful maternal love and support for her infant and displays a naturalistic presence in the face of hopelessness.

The movie itself is sparse to say the least. It just about gets across the message of how things could be in this type of situation. However, many scenes are far too abstract and simplistic. A little more context is required, even just a background radio giving out emergency bulletins or a broken road sign along a soggy road to give some geographical placing. Society breaks down, as it inevitably would and the Brits show their legendary stoicism, but it's all on one level, not much horror and no humour - both essential in any successful disaster, dystopian movie; it borders on the boring.

In the end the excellent Comer pulls it through.

We went to see this primarily because of Jodie Comer who we saw in Prima Facia on the screen as a film of her stage performance and were totally blown away. She is always brilliant but this was on another level and then some. We then decided to see her in this play live on Broadway and it was totally mesmerising.

This film and the recent one on Netflix with Julia Roberts about what might happen in the not too distant future are very different as this was an environmental disaster but both very believable and sadly more likely to happen than not.

This type of film is very different obviously to a thriller or action movie or romcom but like the Netflix one it has got me thinking and the more I think about both the more I think they are accurate representation of the possible things to come. Jodie Comer is totally believable as always as is her male partner who has come a long way from being I fool in a supermarket on Sky. I would recommend this film to anyone and even to use in schools for the appropriate age group as unless someone steps up the save the planet this is more likely to happen than not.

We are on an island and you only have to remember the panic for toilet rolls when the pandemic started to understand this is scarily true to life and show although most are good nice people, so many are not and would do anything to look after number one.

So I love a thriller like the next but I also like to be challenged and made to think and this film certainly did that and I think it will continue to do so for some time to come.

I also think Jodie Comer is a lovely person and one of the greatest actors of her generation and she is still early says into her career so can't wait to see what she does next.

It's also amazing to hear her natural Liverpool accent and then in Killing Eve as a totally believable Russian assassin, incredible.

With a fairly biblical storm raging outside, an heavily pregnant mother (Jodie Comer) is sitting at home watching the telly. Power goes out, waters break then the struggle to get boyfriend (Joel Fry) and ambulance to hospital is the start of their woes. Leaving, they discover that huge swathes of England are under water so they head to higher ground and his parents. Fortunately, they have had a long ridiculed bit of a siege mentality so there's plenty of food but that's about all as the family units begin to disintegrate, just as society is doing at large elsewhere. The couple become separated and the un-named mother must now find safety for herself and her baby until some form of normality returns. This is another hugely emotional effort from Comer with Fry, a fleetingly potent contribution from Benedict Cumberbatch and a strong role for new-found friend Katherine Waterson working well, too. The story though - well it reminded me a little of "Children of Men" (2006). A rather depressing and dreary chronology - augmented with some flashbacks of happier days - of how individuals deal with disaster, be they self induced or imposed, and I struggled to remain engaged as the narrative lumbered along. The direction and the score are also fairly lacklustre. One too many shots of cars driving along, of mother carrying baby, cheering baby, nursing baby - and talking of the baby, boy does it age! If it's meant to be a very personal, intimate even, indictment of mankind's inhumanity to itself when facing desperation then it just about works, anything else was rather wasted on me, I'm afraid.