Directed By Adam Robitel
Starring – Deborah Ann Woll, Taylor Russell, Logan Miller
The Plot – A psychological thriller about six strangers who find themselves in circumstances beyond their control and must use their wits to find the clues or die.
Rated PG-13 for terror/perilous action, violence, some suggestive material and adult language
– Rich production quality in set designs. Of course a film with this title should put everything they have into the elaboration and eye for detail in the many rooms the game takes us through, and each of the ones inside are every bit as cryptically fun as they are sinisterly condemning. What I like here is that none of the rooms repeat, and one such room even plays tricks on the minds of audience members, offering us a psychological immersion into our character’s current foreboding dispositions.
– Eclectic casting. Fresh faces like Russell and Miller capture the attention of audiences with their breakthrough performances that prove they can sustain the depth associated with a leading role, all the while the inclusion of Woll and Tyler Labine add a layer of big name prestige that constantly throws off your guessing game. The wide variety of personalities is what truly keeps the film fresh and evolving, and instills an ideal of ensemble work that very few films are brave enough to touch on anymore. They work so well together because each is given ample time to shine, and it’s something that doubles their chemistry the longer the film progresses.
– Value towards character exposition. What really impressed me and kept me gripped to the unfolding narrative was the film’s combination of game and backstory that equally did wonders for the other. The film takes valuable time in fleshing out who these people locked in the game are before they agreed to it, and the more you start to learn about each of them, the more you start to understand why certain characters are better suited for certain environments. Even more beneficial, the exposition only shows us a few brief moments and lets us sniff out the rest for ourselves, providing food for thought once more for movies that don’t need to spoon-feed their audience.
– PG-13 and proud of it. This film gets a lot of comparisons to the Saw franchise for obvious reasons, but the line of similarities quickly diminishes when you bare witness to the nature of the torture itself. For one, Saw definitely earns its status as torture porn, as to where “Escape Room” is a psychological bending that doesn’t require the exploitation of blood or gruesome nature to sell its believability in permanency. In fact, there isn’t a single drop of blood spilled until the film’s final fight for survival, with around fifteen minutes left in the movie. It’s impressive when horror can still dazzle under such constrictions, and Robitel’s style for substance never believes in taking two steps back.
– Anxiety for days. The quick cuts in precision editing, combined with the variety of many eye-catching angles brings out the sheer drama and urgency of the game itself, doing wonders for the overall pacing of the ever-changing backdrops along the way. Even at 95 minutes of run time, each location is given plenty of time to engage yourself in its adversities and rules, and every movement of choice feels incredibly heavy on the well-being of the group. Through the use of trial and error by our stumped character’s choices, the screenplay almost dares you to shout out your two cents, and this gives “Escape Room” amazing presence as a group watch with friends over a couple of drinks.
– Evolution of the atmosphere. The tone for the movie is handled in such a way that allows for plenty of laughs early on in the film, to get over the personalities of this extremely likeable group, but eventually matures more when the consequences and brutality of the game comes to the forefront. Likewise, the character’s themselves evolve, for better or worse, and it’s interesting to see where two certain character’s end up by the film’s full-throttle finale. When the material and characters work hand-in-hand smoothly, everything fires on all cylinders, and you have a seamless film that moves together in one cohesive movement.
– Condemning introduction scene AGAIN. So this is the new cliche in almost EVERY single going today, huh? The scene that starts out a movie spoils far too much, and unless you’re a braindead noodle, you can piece together everything that is coming by film’s end. Only certain films do this properly, showing less in its depictions, but sadly “Escape Room” is the latest victim of this movie, as a sole survivor is shown going through the last trap of the game, before our linear story begins. If you must do this stupid idea, why not show an instance from the trap where everyone is still alive? Why give away so much in a movie where suspense is so important?
– Easy Solutions. I understand that thinking on your feet is difficult in such predicaments, but when an idiot like me can figure out simple ways to solve three different rooms, I have to start wondering if I’m the smartest person in the movie. SPOILER – There’s one room where six different coasters have to be weighed down into the coffee table for a door to stay open. The group goes through hell and time filling six glasses with water. Why not get the six legged couch behind you? I seriously can’t be the only person yelling this.
– What happened with the prize? Considering the trailer says these six strangers are competing for a million dollars, the film’s delivery of ten thousand dollars feels a lot more anti-climatic. Besides the fact that it’s difficult for me to believe that two characters in particular would even go for this for such a limited payoff, a million dollars just sounds better in the advertising campaign, and clearly the trailer crew felt the same way, as they changed it for audiences because they knew how stupid it sounded.
– The ending. I knew it would be difficult for a movie like this to have a satisfying conclusion, but what transpired in the final ten minutes took a solid film down a peg to nothing other than a glorified rental. If it ends after the final conflict, FINE, but the film keeps dragging along, catering to an inevitable sequel instead of properly concluding the movie that is front-and-center. What’s even worse is the additional material tries to answer far too much, leaving very little meat on the bone for the second installment, and feels like final scenes from an entirely different movie. Did this film seriously just turn into a spy thriller? Really?
My Grade – 6/10 or C+