James Ponsoldt’s latest is a touching look into the irregularities of the mundane. Following an un-published interview that occurred between David Lipsky and David Foster Wallace, The End of the Tour is a small film that de-mystifies its characters and converts them into real characters, a relatable character about humans interacting in the most humane way possible, The End of the Tour excels in telling a story about humans simply being humans. Like always, Ponsoldt turns in wonderful directing as he restrains any directorial flourishes too ground his film in reality, letting us weigh in on these intimate conversations between Lipsky and Wallace. And through these conversations we get some beautiful moments planted among the journey by Margulies in the script. With all that said about the beautiful humanization of story and characters in The End of the Tour, I haven’t even touched upon the best part of this film, that being Jason Segel’s Oscar-worthy performance. Jason Segel’s performance is on a whole-different level, it brings something even more special to the film, it shows us the range that Segel is capable of, and it is just enthralling to watch. As for Eisenberg, I must say that is my only complaint with The End of the Tour as Eisenberg plays the same character once again, which I mostly don’t mind, but it retracted from Ponsoldt’s attempt at humanizing Lipsky since I could only see Jesse Eisenberg on screen and whenever Eisenberg acted differently it felt odd and like he was just overacting, keeping The End of the Tour from being the perfect film it could have been. The End of the Tour is a beautiful, human story about the genius of normality, with an Oscar-calibre performance from Segel, incredible direction from Ponsoldt, and great pieces of dialogue to remember, The End of the Tour is one of last year’s best and most underrated films, and a 92 out of 100.