“This is the way the world ends: not with a bang but a whimper.”

Then again, what does T.S. Eliot know? As far as the movies go, the possibilities for destroying our planet or civilizations are downright infinite. Certainly, in light of several recent predictions claiming that the end of the world is ‘nigh (most of which have passed, mind you), the apocalypse has naturally been on a lot of peoples’ minds.

And so it goes: What’s prevalent in society’s consciousness is subsequently reflected in our pop culture. This means a surge of movies dealing with a world-ending event. Dramatic or funny; action-packed and exciting or slow and deliberate; real life or supernatural—there’s an apocalypse story for everyone.

The latest example of this concerns the release of The World’s End, Edgar Wright’s final (supposedly) installment in his Blood & Cornetto saga, a series that began with zombie-rom-com Shaun of the Dead and continued with the action-comedy Hot Fuzz. Here, Wright regular (and co-writer) Simon Pegg stars as an alcoholic, middle-aged man-child who brings his gang of childhood friends back together (including actors Nick Frost, Paddy Considine, Martin Freeman and Eddie Marsan) in hopes of finally completing an epic pub-crawl they’d unsuccessfully attempted as youths. The group hits a bit of snag, however, upon realizing that their old town has been taken over by aliens. Not that it would stop them from finishing their beers, of course.

In honor of the release of The World’s End, we decided to take a look at some of the most notable end-of-the-world films.

20. Seeking a Friend for the End of the World (2012)

Released in mid-summer of last year, director Lorene Scafaria’s (Nick and Norah’s Infinite Playlist) feature film directorial debut came and went without much fanfare. To be fair, it was a hard sell. An apocalypse comedy/rom-com/road trip movie starring the likes of Steve Carell and Keira Knightley, two actors who don’t seem like they belong in the same world together let alone in a romantic pairing, the movie was never going to be a runaway hit. It’s certainly not without its flaws, with a tone that oscillates sharply between comedy and drama and a plotline that borrows heavily from a certain other movie on this list. And yet, Carell and Knightley’s combined charm and chemistry make this one end-of-the-world road trip worth checking out.

19. War of the Worlds (2005)

Director Bryon Haskin’s 1953 adaptation of H.G. Wells’ classic novel remains one of the most notable science fiction films of the 1950s. Today, the film stands as an essential, if somewhat dated, milestone in the evolution of special effects. In other words, unlike certain other properties, a remake was not out of the question. And who better to do so than Steven Spielberg?

The power of Spielberg’s 2005 version is how he repurposes the original’s pervading Cold War paranoia in favor of incorporating elements of post-9/11 trauma. When the Tom Cruise character, having narrowly escaped the initial alien attack, looks into the mirror and realizes he’s covered in the ashes of disintegrated civilians, it’s next to impossible not to summon up the image of debris-covered New Yorkers wandering around the aftermath of the Trade Center attack. Moreover, by sticking closer to the book’s original premise, which involved a man’s attempt to locate his wife in the ensuing chaos, Spielberg creates a disaster film that feels much more intimate and personal than the ‘50s version. Yes, the film kind of falls apart in the final reel, but by that point it’s earned more than enough goodwill to balance out the weaker areas.

18.  (1992)The Rapture

Mimi Rogers plays Sharon, a Los Angeles hedonist who ends up falling in with a religious sect obsessed with the End of Times. The group warns that the biblical Rapture is near and Sharon takes the news to heart, vowing to give her life to God and live a purer lifestyle. She eventually even marries and has a daughter. As the signs of the Rapture begin appearing, however, Sharon also begins to doubt her devotion to God and his “cruel” ways. Made on a miniscule budget, the film did little business during its initial run, despite ringing endorsements from the likes of Roger Ebert. It’s not hard to see why thanks to its ham-fisted diatribe against traditional religious views of God. While such a heavy-handed approach certainly bogs the story down in parts, the film is worth seeing for Rogers’ fantastic performance alone as well as the sheer bravery of story’s final 15 minutes.

17. On the Beach (1959)

Given the content restrictions enforced on films in the pre-MPAA age, you’d think it would be next to impossible to release a film containing the kind of visceral impact as a more modern production. And well…you’d sort of be right. Leave it to Stanley Kramer then—director of such issue-heavy projects like Guess Who’s Coming to Dinner and Inherit the Wind—to deliver a moving ensemble drama about a group of characters in denial about their eventual destruction. Set months following a devastating World War III, the film posits a world in which most of the Northern Hemisphere has been contaminated with radiation poisoning and people are moving down to Australia in order to escape the slow-moving but ever encroaching radiation dust. Boasting a cast that includes Gregory Peck, Ava Gardner, Anthony Perkins and Fred Astaire, On the Beach is a must-see for any classic-film fans.

16. Time of the Wolf (2003)

Austrian director Michael Haneke isn’t exactly known for playing it safe; rather, he seems to prefer pushing the boundaries of good taste, as if daring anyone to keep watching. This is certainly the case with his 2003 apocalyptic film Time of the Wolf. Haneke regular Isabelle Huppert plays the matriarch of a French family who travels to their home in the country only to find that an unspecified disaster has driven the world into chaos. When the family tries to find new shelter, however, they are shunned or ignored like lepers in biblical times. Here, by never revealing the cause of the apocalypse, Haneke almost seems to be making a statement not about the nature of man in times of peril but about how fragile human relationships can be and how little it takes to suck the compassion out of people. While not nearly as powerful as some of Haneke’s other works, Time of the Wolf stands as a fantastic alternative to the typical end-of-the-world fare.

15. Fish Story (2009)

There’s one scene in Almost Famous where rocker Jeff Bebe, high on his own self-importance, utters the soundbite-y phrase “rock ’n’ roll can save the world.” Never has these words been more literalized than in Yoshihiro Nakamura’s 2009 film Fish Story. The film opens on the deserted streets of Japan. Everyone is prepping for the seemingly inevitable asteroid collision that will wipe away civilization as we know it. In a still-open record shop in the middle of the city, however, a music fan holds up hope that an obscure punk single from 1975 will save the world. And, in a series of seemingly unrelated stories that trace the song’s history over the years, we see how it does just that. Relentlessly clever and fun, Fish Story manages to tackle the concept of a “hyperlink” story without any of the pretentiousness or overindulges that typically plagues projects of that ilk.

14. Miracle Mile (1988)

It’s a piece of irony worthy of Alanis Morissette (in that it’s not exactly ironic). You find the partner of your dreams, only to discover after the initial “meet-cute” that the world will soon be engulfed in a nuclear apocalypse. Anthony Edwards stars in this highly underrated late ‘80s thriller as Harry, a lovelorn man who just happens to answer a random ringing pay phone late at night. On the other end of the line, a frantic man warns him that nuclear war is set to break out in exactly 70 minutes. What follows is Harry’s race against the clock to find his newfound love and escape in a helicopter before it’s too late. Shot mostly in real-time, Miracle Mile is a exhilarating roller coaster ride through late-night Los Angeles and a seemingly huge inspiration for the 2008 movie Cloverfield.

13.This is The End  (2013)

The Book of Revelation as seen through the eyes of a group of stoned prima donnas,This Is The End has Seth Rogen and company staring down the apocalypse and lobbing dick jokes in reply. There are many ways in which Rogen and co-writer/director Evan Goldberg’s feature-directing debut could have gone horribly wrong, whether it be leaning too much on the inside jokes or half-assing the special effects. Yet, Rogen and Goldberg avoid all the major pratfalls of first-time comedy filmmakers, combining the loose, Apatow-inspired interactions with impressive visual set pieces that create a sense of scope and escalation. This is the End is probably one of the few apocalypse-based films you want to re-watch the second after its done.

12. Night of the Comet (1984)

A forgotten little gem from the ‘80s (recently released on Blu-Ray), Night of the Comet can easily be dismissed as nothing more than a goof of a film. Those with an open mind, however, will find an intriguing example of a film that mixed genres before such a thing was readily acceptable. The story centers on two teenage Valley Girls who, after a comet passes right near the Earth and vaporizes billions in its wake, decide to take advantage of the end-of-the-world situation by having an epic shopping spree. On the way, however, they encounter zombies, the military and countless other “totally lame” detours. A hilarious send-up of ‘80s culture, Night of the Comet provides a thoroughly entertaining time capsule of the decade.

11. The Road (2009)

Adapted from the 2006, Pulitzer Prize-winning novel by Cormac McCarthy, The Road is an appropriately dark journey into the depths of human despair and desperation. Viggo Mortensen stars as an unnamed man making his way through the remnants of an eviscerated world with his young son in tow. Faced with a brutal population that’s quickly destroying itself, the man must eventually decide between continuing forward and hoping for a better life or executing his son then and there to prevent future suffering. Director John Hillcoat and writer Joe Penhall’s film is not an easy one to watch, but they deserve credit for transforming a beautifully effective novel into an equally effective piece of cinema.

In honor of the release of The World’s End, we decided to take a look at some of the most notable end-of-the-world films.

10. The Day After(1983)

Few movies in 1983 inspired as much heated debate or produced a more visceral reaction in audiences than this two-hour, made-for-TV movie. The story centers on the citizens of Lawrence, Kansas and Kansas City, Missouri and how they unexpectedly find themselves dealing with the effects of a nuclear bomb. Hot off his work on Star Trek 2: Wrath of Khan, director Nicholas Meyer lobbied hard with the ABC censors to make the film as realistic as possible and the results speak for themselves. Calls flooded in to politicians’ offices across the country, with citizens who’d watched the film demanding to know if such a situation was possible. Children’s TV personality Mr. Rogers even did a series of shows to help placate the children traumatized by the film.

9. The Last Wave (1977)

Prior to breaking through with more mainstream fare such as The Year of Living Dangerously and Witness, Australian director Peter Weir made his name crafting atmospheric genre pictures like Picnic at Hanging Rock and The Last Wave. The latter finds future Thornbirds star Richard Chamberlain as a lawyer who accepts a job defending a group of Aboriginals. The group had apparently broken out into a fight during a freak storm and appeared to kill one of their own. As his investigation leads him deeper down the rabbit hole, the character discovers the coming signs of a cataclysmic event. Though not for all tastes, The Last Wave is a hypnotizing experiment in visuals and sound that make it an ideal thriller for an art-house crowd.

8. Invasion of the Body Snatchers (1978)

1978’s Invasion of the Body Snatches stands as perhaps the quietest apocalypse on this list. Here, it’s not war, nuclear holocaust or even a hostile invasion that threatens the end of humanity; instead, it’s a strange, plant-based species that quietly and effectively replaces the inhabitants of San Francisco with identical pod people. Director Phillip Kaufman’s re-imagining of Jack Finney’s novel Body Snatchers takes a decidedly darker, more cynical approach to the premise than the original 1956 film adaptation. In doing so, however, the film has established itself arguably as the most accomplished of the four Body Snatchers adaptations.

7. 28 Days Later (2002)/ 28 Weeks Later (2007)

A bit off a cheat, but Danny Boyle’s 2002 alt-horror film and its 2007 follow-up work very much as a whole when it comes to maximum emotional impact. Introducing a world where a “rage” virus has turned the majority of the population into something approaching crazed, rabid dogs, 28 Days Later eventually settles on leaving its audience with a sense of hope for the future. 28 Weeks Later, however, negates this, depicting a world just as brutal as the first but with a far less optimistic ending.

6. 12 Monkeys (1995)

Inspired by the classic 1962 French short film La Jetée, 12 Monkeys went on to become the rare financial success in the notoriously disaster-prone career of former Monty Python member Terry Gilliam. Bruce Willis plays a mentally unstable convict from an apocalyptic future who is sent back in time to halt the release of a deadly virus that will kill billions. Featuring great performances from Willis and a decidedly un-glamorized Brad Pitt, 12 Monkeys bears that rare distinction of containing all the creative visuals and quirks that make Gilliam films great without the incoherent, scatter-brained plotting that often proves to be their downfall.

5. Dawn of the Dead (1978)

When it comes to “end-of-the-world-by-zombies” there’s no shortage of viable examples. Certainly old classics such as George A. Romero’s Night of the Living Dead and newer classics like Edgar Wright’s Shaun of the Dead have more than earned their place in the pantheon of great go-to films. Yet, Dawn of the Dead takes the lone spot for specific reasons. In both Night and Shaun the zombie threat is seen on a very small scale, with the action taking place in a rural house and a relatively small neighborhood respectively. Though most of its running time is confined to a massive shopping mall, Dawn’s first third effectively hits home the widespread nature of the zombie outbreak, with scenes like the apartment raid by an overzealous SWAT team visually establishing the reach of the outbreak. Furthermore, while humanity appears to be winning out or returning to normal in a good portion of zombie films, Dawn ends in a place of great ambiguity. Certain heroes survive, but how long can they survive in a world overrun by the undead with limited resources?

4. Melancholia (2011)

An end-of-the-world movie conceived by the director responsible for Breaking the Waves, Dancer in the Dark and Antichrist? Oh joy. All joking aside, Danish provocateur Lars von Trier here turns in a product that, while undoubtedly sad, is also disarmingly beautiful (emphasis on the opening, slow-motion sequence) and emotionally resonant without feeling overbearing. The movie even manages to squeeze in moments of genuine levity courtesy of Udo Kier as a hilariously snooty wedding planner. The film tells two different stories. In the first part, we follow a soon-to-be bride (Kirsten Dunst, in a career-defining performance) as she struggles to make it through the parties and celebration while her depression’s tight-hold on her grows stronger. The second part focuses on the exploits of her older, type-A sister (the great Charlotte Gainsbourg). There’s also the fact that a blue planet called Melancholia is fast approaching Earth’s orbit.

While far from subtle, von Trier’s use of an apocalyptic event as a metaphor for the nature of depression is an apt one. What’s more impressive is that, despite the movie’s dark subject matter, von Trier manages to infuse the apocalypse with a strange sense of hope.

3.Take Shelter (2011)

Curtis LaForche is a man plagued by apocalyptic visions. Convinced his premonitions will soon come to pass, he begins constructing a shelter for his wife and child. His increasingly erratic behavior leads him to a shrink, where we learn he has a family history of mental illness. Thus lies the central question of Take Shelter. Is Curtis a prophet for the modern time or a mentally disturbed individual becoming lost in his delusions? A kind of subversive take on the traditional Noah story, Take Shelter made good on the promises of writer/director Jeff Nichols’ first featureShotgun Stories, establishing him as a powerful new voice in the film community. Not to mention, the film features Michael Shannon giving what may be his finest performance to date.

2. Last Night

Last Night fades in on 6 p.m. of what we soon discover will be the last day before the complete obliteration of the planet (a specific reason is never given though the film does draw attention to the fact that night has not existed for some time). In six hours’ time, the world as we know it will be gone. Written and directed by Canadian actor/filmmaker Don McKellar, the film hops between several loosely interlocked stories, exploring how different people chose to spend their last night. Stranded on the street after her car is stolen and demolished, Sandra (Sandra Oh) tries desperately to get to her husband in time so that they can commit suicide together, recruiting a depressed loner named Patrick (McKellar) to help her out. Patrick’s friend Craig (Callum Keith Rennie) decides to spend the time recruiting women to enact all the sexual fantasies he’s ever had.

Sticking the perfect balance between sincere drama and laugh-out-loud comedy,Last Night builds to an incredible crescendo that will both haunt you and bring a sad smile to your face.

1. Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb (1964)/ Fail-Safe (1965)

Inspired by the same source material and released within a year of each other, Dr. Strangelove and Fail-Safe provide an incredible side-by-side comparison for how the same plot can result in two widely different, though equally successful films. That being said, Strangelove, with its demented, ahead-of-its-time dark humor, will always be first in most people’s hearts. While attempting to adapt Peter George’s novel Red Alert for the big screen, director Stanley Kubrick found that he kept needing to cut out certain real-life details about the emergency nuclear bomb procedures because they were simply too absurd to work in a serious drama. Deciding to rewrite the project as a dark comedy, he recruited renowned satirist Terry Southern to help pen the script. From there, it’s all history. To this day, Peter Sellers’ three very different (and very funny) performances remain a feat by which few actors have matched (with possibly the exception of Alec Guinness in Kind Hearts and Coronets. Moreover, the image of Slim Pickens riding the bomb to its destination as well as the final montage of destruction set to the wistful “We’ll Meet Again” are the stuff of movie legend. Worldwide Armageddon has never been so hilarious.

Of course, at the same time, director Sidney Lumet was developing a more serious take on the “what if?” of nuclear war. Intimidated by the amount of talent involved in Fail-Safe, Kubrick filed a lawsuit asserting that the plotline had been plagiarized from George’s Red Alert, which Kubrick owned the rights to. The lawsuit was eventually settled but it had the desired effect. Kubrick’s movie came out eight months prior to Fail-Safe. It’s a shame because Fail-Safe is nearly as dramatically effective as Strangelove is laugh-out-loud hilarious. Henry Fonda and Walter Matthau are fantastic in their roles and Lumet’s camerawork and editing beautifully pounds home the escalating tension.

最終的設施，世界20個最佳電影
由馬克·Rozeman
2013年8月23日|下午3點39分
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最終的設施，世界20個最佳電影
“這是世界結束的方式：不是砰的一聲，而是嗚咽”

再說，什麼艾略特知道嗎？至於看電影去了，摧毀我們的星球和文明的可能性是徹頭徹尾的無限。當然，鑑於最近的一些預測稱，世界到底是'近了（其中大部分已通過，請注意），天啟自然是在很多人的心中。

如此這般：什麼是社會的普遍意識隨後反映在我們的流行文化。這意味著電影處理的是世界盡頭的事件激增。戲劇性的或有趣; 動感十足的和令人興奮的還是慢的和蓄意的; 現實生活中還是超自然的，有一個啟示的故事給大家。

這個最新的例子是關於釋放在世界的盡 ​​頭，埃德加·賴特的最後（據說）安裝在他的血液和Cornetto傳奇故事，一系列的開始與殭屍-ROM-COM 殭屍肖恩，並繼續與動作喜劇熱血警探。在這裡，懷特經常（和聯合編劇），西蒙·佩吉飾演一個酒鬼，中年人，孩子誰帶來了他的童年朋友幫派一起回來（包括演員尼克·弗羅斯特，水稻康西丁，馬丁·弗里曼和埃迪·馬爾桑）中的希望終於完成了史詩般的酒吧抓取他們會不成功地試圖為青少年。本組打了一點障礙，不過，在意識到自己的老城區已經接管了外星人。不，它會從整理過程中的啤酒，阻止他們。

在榮譽的發布了世界的盡 ​​頭，我們決定來看看一些結束了世界的最顯著的電影。

20，求一個朋友的天涯（2012）
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在仲夏去年發布的導演洛倫Scafaria的（尼克和諾拉的無限播放列表）的電影導演處女作來無影去無大張旗鼓。公平地說，這是一個強買強賣。一個啟示喜劇/ ROM-COM /客場之旅的影片主演史蒂夫卡萊爾和凱拉·奈特利的喜歡，兩位演員似乎誰不喜歡他們在同一個世界屬於彼此更何況是在一個浪漫的配對，電影永遠不會是巨大成功。這當然不是沒有它的缺陷，用語氣大幅振盪的喜劇和戲劇和情節主線是大量借鑒了這個列表上的某些其他電影之間。然而，卡萊爾和奈特利的綜合魅力和化學做一個結束的世界這個客場之旅值得一試。

世界之戰19（2005）
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拜倫主任哈斯1953年改編HG Wells的經典小說仍然是20世紀50年代最顯著的科幻電影之一。如今，這部電影代表作為必不可少的，如果有些過時，里程碑特效的演變。換句話說，不像某些其他屬性，翻拍是不是出了問題。和誰更好這樣做不是史蒂芬·斯皮爾伯格？

對斯皮爾伯格的2005年版的動力是他如何repurposes原來的瀰漫冷戰偏執狂贊成合併後的9月11日的創傷元素。當湯姆·克魯斯的性格，具有險遭最初的外來攻擊，看起來入鏡，實現了他的渾身解體平民的灰燼，這是幾乎不可能不召集起來的碎片覆蓋的紐約各地的後果徘徊圖像世貿中心的攻擊。此外，在堅持貼近書中的原前提下，這涉及到一個人的企圖找到他的妻子在隨後的混亂中，斯皮爾伯格創建感覺更親密和個人的比上世紀50年代版本的災難片。是的，電影類型的分崩離析在決賽盤，但到那個時候它賺了足夠多的善意，以平衡較弱的地區。

18被提（1992年）
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咪咪羅傑斯扮演沙龍，洛杉磯享樂主義誰最終在一個教派痴迷時代的結束落下。該小組警告說，聖經被提近，沙龍採取的消息心臟，誓要給她的生活上帝，過上更純粹生活方式。她最後竟然結婚，並有一個女兒。由於狂喜的跡象開始出現，但是，劉女士也開始懷疑她的奉獻給上帝和他的“殘酷”的方式。就微乎其微預算，影片最初的運行過程中做一點生意，儘管羅傑·艾伯特的喜歡振鈴代言。不難看出為什麼感謝上帝對傳統的宗教觀點的笨手笨腳的謾罵。雖然這種嚴厲的做法肯定是停滯不前的故事分解成幾個部分，這部電影是值得一看的羅傑斯的夢幻般的表現單獨以及故事的最後15分鐘的純粹的勇敢。

17，上海灘（1959）
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由於強制執行的預MPAA年齡的電影內容的限制，你會以為這將是幾乎不可能釋放含有一種內臟的影響，因為一個更現代的電影製作。嗯...你那種是正確的。留待斯坦利克雷默像這樣的問題，重項目，然後導演猜猜誰來吃晚餐和繼承風以誠提供約一組字符的移動合奏戲劇否認他們最終銷毀。下面毀滅性的第三次世界大戰設置個月，該片假定其中大部分北半球已經沾染輻射中毒，人們向下移動到澳大利亞，以逃避緩慢移動，但曾經侵占輻射塵的世界。擁有鑄造，包括格里高利·派克，艾娃·加德納，安東尼·珀金斯和弗雷德·阿斯泰爾，上海灘是一個必須看到的任何經典電影迷。

狼16時（2003年）
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奧地利導演邁克爾·哈內克無法知道玩它的安全; 相反，他似乎更喜歡推高品味的界限，就好像有人敢於保持觀望。這當然與他的2003世界末日電影的情況下狼的時間。哈內克定期伊莎貝爾·於佩爾扮演一個法國家庭誰前往他們的家在該國的女家長才發現，一個未指定的災難推動了世界陷入混亂。當家人試圖尋找新的住所，但是，他們迴避或忽略像聖經時代麻風病人。這裡，從來沒有揭示災難的原因，幾乎哈內克似乎是做一個聲明不是人在危險的時候的性質，但如何脆弱的人與人之間的關係可以怎麼一點才能吸出同情心的人。雖然幾乎沒有一樣強大的一些哈尼克的其他作品，狼的時間代表一個夢幻般的替代結束了世界的典型票價。

15，魚的故事（2009年）
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有一個場景幾近成名的地方搖桿傑夫貝貝，高對自己的自我的重要性，說出了同期聲-Y那句“搖滾搖滾樂可以拯救世界。”從來沒有這句話被越來越literalized比義村2009年電影魚的故事。影片開始在日本的冷清的街道。每個人都在躍躍欲試，看似不可避免的小行星碰撞，這將擦去文明，因為我們知道這一點。在城市的中間還開唱片店，然而，一個音樂迷可容納希望，從1975年一個不起眼的朋克單將拯救世界。而且，在一系列看似無關的故事，追尋歌曲的歷史，多年來，我們看到它是如何做到了這一點。無情的聰明和有趣，魚的故事設法解決的“超鏈接”的故事概念沒有任何的矯飾或overindulges通常是困擾之流的項目。

14 Miracle Mile的（1988）
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這是一件值得諷刺艾拉妮絲莫莉塞特的（因為它不是完全諷刺）。你找到你夢想中的伴侶，才發現最初的“滿足可愛”，世界將很快在核災難吞噬。安東尼·愛德華茲星在這個高度被低估了80年代後期的驚悚片，哈利，一個失戀的人誰恰好在深夜接聽隨機鈴聲付費電話。上線的另一端，一個瘋狂的人警告他說，核戰爭設為爆發正好70分鐘。以下是哈利的比賽分秒必爭找到他的新歡，並在逃離直升機之前，為時已晚。實時拍攝的居多，Miracle Mile的是一個令人興奮的過山車穿過深夜的洛杉磯和一個看似巨大的靈感，2008年的電影科洛弗檔案。

13，這是結束（2013年）
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啟示通過一組砸死初步donnas的眼中所看到的書，這是結束了塞斯羅根和公司的盯著啟示和高球傢伙開玩笑的回答。有很多種方法，其中羅根和聯合編劇/導演埃文·戈德堡的功能導向的首演可以去可怕的錯誤，是否可以扶著太多在裡面的笑話或半assing的特殊效果。然而，羅根和Goldberg避免第一次的喜劇電影工作者各大pratfalls，結合鬆散，阿帕圖的靈感與令人印象深刻的視覺定位球創造的範圍和升級感的互動。這是結束大概是為數不多的啟示之一你想為基礎的電影重新觀看後對 ​​其做第二次。

彗星的12夜（1984）
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從上世紀80年代（最近發布的藍光）被遺忘的小寶石，彗星之夜可以很容易地被駁回，因為沒有什麼比一部電影的穿幫。那些以開放的心態，但是，會發現電影的混合形式之前這樣的事情是易於接受的一個有趣的例子。兩個十幾歲的山谷女孩誰後，彗星經過，臨近地球和蒸發數十億美元在其身後的故事中心，決定趁結束的世界局勢由具有史詩般的瘋狂購物。在路上，但是，他們遇到殭屍，軍隊和無數其他“完全跛腳”的彎路。哄發送機的80年代的文化，彗星之夜提供了十年的徹底的娛樂時間囊。

11路（2009）
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從2006年改編，由普利策科馬克·麥卡錫獎獲獎小說，該路是適當黑暗之旅為人類的絕望和絕望的深淵。維果·莫特森飾演一位不願透露姓名的人通過全淨膛的世界與他的小兒子在拖殘餘做他的方式。面對殘酷的人口中的迅速自我毀滅，這名男子最終必須繼續前進，希望有一個更好的生活或執行他的兒子再有，以防止未來的痛苦的決定。導演約翰·Hillcoat和作家喬Penhall的電影是不容易的觀看，但他們應得的學分轉換精美有效的小說改編成同樣有效一塊電影。

在榮譽的發布了世界的盡 ​​頭，我們決定來看看一些結束了世界的最顯著的電影。

10天之後（1983）
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幾部電影在1983年激發了盡可能多的激烈爭論，或產生於觀眾比這兩個小時的更本能的反應，取得了為電視電影。在勞倫斯，堪薩斯州和密蘇里州堪薩斯城的居民的故事中心卻意外如何發現自己處理核彈的效果。熱過他的作品星際迷航2：可汗之怒，導演尼古拉斯·邁耶努力遊說與農行審查，以使電影盡可能真實，其結果不言自明。電話充斥在全國各地，政客的辦公室與誰願意看完電影要求知道，如果這樣的情況是可能的公民。兒童電視名人羅傑斯先生甚至做了一系列的節目，以幫助平息由電影創傷的孩子。

9，最後一波（1977年）
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在此之前有更多的主流票價，如突破生活危險的一年和證人，澳洲導演彼得威爾他的名字各具特色的大氣風格的照片就像懸崖上的野餐和最後一波。後者認為未來Thornbirds明星理查德·張伯倫的誰接受保衛工作的一組原住民的律師。該集團顯然打破了進入戰鬥過程中一個怪胎風暴，似乎要殺死他們中的一員。由於他的研究使他更深下來了兔子洞，字符發現一個災難性事件的來臨的跡象。雖然不是所有的口味，最後一波是一個催眠實驗，視覺效果和聲音，使之成為理想的驚悚片的一個藝術之家的人群。

8侵襲機體搶奪（1978）
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1978年的入侵人體防搶的代表作為也許是這份名單上最安靜的啟示。在這裡，它不是戰爭，核戰爭，甚至是敵對的入侵，威脅人類的結束; 相反，它是一個奇怪的植物為基礎的物種悄悄地和有效地取代舊金山的居民具有相同的吊艙人。導演菲利普·考夫曼的重新想像傑克·芬尼的小說的搶屍需要一個決定性的黑暗，更悲觀的方式的前提下比原來的1956年電影改編。這樣做，不過，這部電影已成為可以說是最有成就的四大搶屍適應。

7，28天之後（2002年）/ 28週後（2007年）
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有點過個騙子，但丹尼·博伊爾2002年的ALT-恐怖片和2007年的後續工作非常作為一個整體，當涉及到最大的情感衝擊。引進一個世界裡，一個“憤怒”的病毒已經變成了大多數人弄成接近瘋狂的，狂熱的狗，28天后終於平息離開了觀眾對未來充滿希望的感覺。28週後 ​​，但是，這種否定，描繪了一個世界一樣殘酷的第一，但與目前不太樂觀的結局。

6，12只猴子（1995）
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由1962年的經典法國電影短片的靈感的LaJetée酒店，12只猴子後來成為罕 ​​見的財務上的成功在前巨蟒成員特里·吉列姆的臭名昭著災害頻發的職業生涯。布魯斯·威利斯飾演從世界末日的未來誰發回及時制止致命的病毒能殺死幾十億的釋放精神不穩定的罪犯。擁有從威利斯和果斷取消有美化布拉德·皮特偉大的表演，12只猴子熊包含所有創造性的視覺效果和怪癖，使吉列姆的電影沒有很大的語無倫次，分散右腦繪圖，往往被證明是他們的倒台中罕見的區別。

5活死人的黎明（1978）
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當談到“結束了世界的逐殭屍”有可行的例子舉不勝舉。當然，舊的經典，如喬治·A·羅梅羅的活死人之夜，更新的經典像埃德加·賴特的殭屍肖恩有超過贏得自己的位置在大去到電影的殿堂。然而，死者的黎明採取的具體原因孤獨的地方。在這兩個晚上和肖恩殭屍的威脅，被認為是一個非常小的規模，在農村房屋所發生的操作，並分別比較小的社區。雖然大部分的運行時間被限制在一個巨大的購物中心，黎明的第一個有效的第三家打殭屍爆發的普遍性，與像公寓突襲的過分熱心的特警隊在視覺上建立的爆發範圍的場景。此外，雖然人類似乎是勝出或恢復正常殭屍電影的很大一部分，黎明在一個地方的巨大不確定性結束。某些英雄生存，但要多久才能在用有限的資源亡靈溢出的世界生存？

4，抑鬱症（2011年）
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結束了世界的電影由導演負責構思破浪，黑暗中的舞者和敵基督？快樂哦。玩笑歸玩笑，丹麥挑釁拉斯馮提爾在這裡變成了一個產品，雖然無疑是可悲的，也是消除戒心美麗（重開，慢運動序列），並沒有感覺霸氣十足的情感共振。這部電影甚至管理的真正輕率禮貌尤 ​​杜奇爾作為一個歡快的傲慢婚禮策劃師瞬間擠。影片講述兩個不同的故事。在第一部分中，我們遵循一個即將成為新娘（克爾斯滕·鄧斯特，在職業生涯定義的性能），她掙扎著通過各方和慶祝活動，而在她的她的抑鬱症的緊身保持強勁增長，使之。第二部分著重於她的年紀大了，A型的姐姐（大夏洛特甘斯堡）的攻擊。還有一個事實，即一個藍色的星球叫做憂鬱症正在迅速接近地球的軌道。

雖然遠離含蓄，馮·特里爾的使用世界末日事件比喻為抑鬱症的本質是一個恰當的。更重要的是令人印象深刻的是，儘管影片的黑暗主題，馮·特里爾管理注入的啟示與一種莫名的希望。

3.Take住房（2011）
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柯蒂斯LaForche是一個男人世界末日景象困擾。說服了他的預感很快應驗，他開始建造一個庇護所為他的妻子和孩子。他越來越古怪的行為使他一縮，在那裡我們學到他有精神病家族史。因此，位於的中心問題暫避。柯蒂斯是在現代社會或精神錯亂的個人先知變得失去了他的妄想？一種顛覆性的作為在傳統諾亞的故事，暫避取得了良好的作家/導演傑夫·尼科爾斯的第一個特徵的承諾獵槍故事，建立了他作為電影界的一個強大的新的聲音。更何況，該電影講述邁克爾·香農給出了可能是他最好的表現是最新的。

2，最後一晚
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最後一夜消失在下午6點什麼，我們很快就發現將地球上的完全消退前的最後一天（具體原因是從來沒有，雖然這部電影確實提請注意的是，當晚已不存在了一段時間）。在六個小時的時間，因為我們知道這世界將不復存在。編劇和導演由加拿大演員/製片人唐·麥凱勒，影片中的一些鬆散的連鎖故事之間跳躍，探索不同的人怎麼會選擇如何度過自己的最後一晚。滯留在大街上後，她的車是偷來的，並拆除，桑德拉（吳珊卓）試圖拼命地去丈夫的時間，使他們能夠一起自殺，招收名為帕特里克（麥凱勒）幫她走出低迷孤家寡人。帕特里克的朋友克雷格（卡勒姆基思·雷尼）決定花時間招募女性制定所有他曾經有過的性幻想。

堅持真誠的戲劇，笑出大聲的喜劇之間的完美平衡，最後一晚為基礎，以一個令人難以置信的高潮，將雙方困擾著你，把悲傷的微笑，你的臉。

1奇愛博士或者我如何學會停止擔憂，愛情的炸彈（1964）/故障安全（1965）
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由同一素材和靈感，每年對方，內發布博士 戰爭狂和故障保護提供了一個令人難以置信的一側並排比較，同樣的情節是如何導致兩個非常不同的，但同樣成功的電影。話雖這麼說，戰爭狂，具有超前- -其時的瘋狂，黑色幽默，永遠是第一位在大多數人的心中。在嘗試適應彼得·喬治的小說紅色警戒的大屏幕上，導演斯坦利·庫布里克發現，他需要不停地切出約應急核彈程序的某些現實生活中的細節，因為他們實在太荒謬了嚴重的戲劇工作。決定重寫該項目作為一部黑色喜劇，他找來著名的諷刺作家特里南幫筆腳本。從那裡，它的所有歷史。為了這一天，彼得·塞勒斯“三個非常不同的（而且很搞笑）的表演依然被這幾個演員都匹配（有可能在異常亞歷克·吉尼斯的壯舉仁心與冠冕。此外，斯利姆皮肯斯騎彈到圖像它的目的地，以及破壞設置為悵惘的最後蒙太奇“我們會再見面”的電影傳奇的東西。全球大決戰從未如此熱鬧。

當然，與此同時，導演西德尼·呂美特開發了核戰爭的一個更嚴重的採取了“有什麼關係？”。通過人才參與金額嚇倒故障保護，庫布里克提起訴訟，聲稱該情節主線已經抄襲了來自喬治的紅色警報，這庫布里克所擁有的權利。這起訴訟最終解決，但它有預期的效果。庫布里克的電影出來八個月前失效保護。這是一個恥辱，因為故障保護是幾乎一樣顯著有效的戰爭狂是笑出大聲爆笑。亨利·方達和沃爾特·馬修是太棒了他們的角色和呂美特的的攝影和編輯精美英鎊家裡不斷升級的緊張局勢。