Exit 8 Review
Video game adaptations have always been fun to watch, but horror video game-based movies have been in a tough spot. Whether that be the big Resident Evil films and Five Nights at Freddy’s or something smaller like Until Dawn, such adaptations have seen their fair share of ups and downs. They can appeal to audiences familiar with these franchises or do something new and original, but sometimes, it can result in something formulaic. The thing with these adaptations was that they were all based on narrative games, which can be restrictive. However, what if one were to take a horror game that had no narrative and make something interesting out of it? That’s what Neon does with their first video game-to-film adaptation: Exit 8.
Based on the horror game of the same name, Exit 8 follows a lost man (Kazunari Ninomiya) who feels unfit to care for his newborn child. On his way to the hospital, the man incidentally finds himself in an unusually pristine subway corridor that seems to loop with no end. Discovering the rules of the loop, and the game he must play, the man has to navigate his way through all while following the system in place. However, when he comes across a boy (Naru Asanuma) along the way, the man must decide what’s more important: his escape or the boy.
From the start, director Genki Kawamura takes the basics of Kotake Create’s game and instantly clarifies the system at play. As soon as the man enters the anomalous space, how everything works is made clear from the getgo. If there’s no anomaly, go straight ahead, but if there is one, turn around and go back. It doesn’t need to try and constantly try to remind the viewer because of how simplistic the original game’s rules are. The only “reminding” that’s done is when the man unknowingly makes a misstep and gradually breaks down. Most of the repeating that’s done is the man constantly trying to find any anomalies, which happens for the first act.
This expository clarification is also aided by the peculiar blend of Keisuke Imamura’s cinematography and Jimmy Liu’s editing. There are a surprising number of oners that follow the man from behind with each twist and turn he takes, signifying that he still has some sanity. Whenever there’s an anomaly that’s spotted, there are sharp cuts to make the audience feel on edge, as if the claustrophobic environment didn’t already do so.
There are also certain shots that just make the viewer realize how small and isolated the man is, like when he’s staring into the open void just to spot his past self in a subway car. Every shot in Exit 8 compiles together in a way that perfectly makes you feel unsettled, even though there’s barely any big jumpscares.
Although the backtracking in the first act feels somewhat repetitive, Kawamura takes Exit 8’s basis and transforms it into a thematically rich film. Given how simple the idea behind the game is, most of the focus is placed on using this anomalous location as a representation of responsibility, choice, and empathy. Kawamura uses several indicators to signify the hesitancy of parenthood the man has to face, but none is more apparent than a second act scene where the man believes his wife (Nana Komatsu) is calling him. This scene, lit under aggressive yellow lights, is perhaps one of the most heartbreaking parts of Exit 8 as it makes the viewer want to believe that’s truly hope at the end of the tunnel.
Kawamura does this by splitting up the film into different chapters with each act respectively. Each chapter is split between the man, the boy, and the subway walker (Yamato Kochi), whose desperation to escape gets the better of him as he tries to break the system. This part of Exit 8 not only deepens what fans of the game know, but also confidently ties back into understanding what it means to truly care for others. The walker’s personality and story does a good job in showing that other side of the coin, which Kawamura and writer Kentaro Hirase bring to the screen quite well. However, the one character that seems to tie everything together is the boy, who turns out to be much more important.
The boy’s story is relegated to the final portion of Exit 8, but it’s how the character is tied into the protagonist that truly shocked me. Aside from the peculiar way that he points out anomalies, the way that the character slowly unravels to the man makes you understand why empathy is important. The man doesn’t recognize it at first, nor will most of the audience, but when that transitional point between the second and third acts hits, it hits hard. The truth behind the boy’s presence makes you feel bad because of that connection, but when that climax comes, it’ll make you desperate to hope they’ll both survive. This all contributes to a psychological conundrum that will resonate with audiences on a deeper level.
Exit 8 proves to be one of the most compelling video game adaptations as well as a success of its own. Genki Kawamura and Neon’s collaboration brings a simple horror game to a new level with complex themes, moving performances, and a unique visual flair. If this is Neon’s first attempt at a video game adaptation, it leaves me very excited for them to do more in the future.
Rating: ★★★★
Exit 8 releases in theaters on April 10.
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Christopher Gallardo is a freelance entertainment writer and critic. While not running The Reel Roller, Chris can be found writing reviews and breakdowns on all things films and TV. Outside of entertainment writing, he’s currently taking classes for a Bachelor’s of Science with a minor in Digital Media & Journalism. Plus, he loves Percy Jackson, animated films and shows, and Fallout! Follow Christopher on Instagram & X.