Lost in Transit. Found in Entertainment.
We begin to watch the new Japanese thriller “Exit 8” through the eyes of the main protagonist as he’s getting on a subway, walks around the station, and receives a phone call from his girlfriend about her pregnancy. It would make sense that the film would start off in the form of a first person game, because “Exit 8” is based off of a video game. But don’t worry, it doesn’t last the whole movie, because immediately he’s sees the “Exit 8” sign, we see the young man who is labeled The Lost Man (Kazunari Ninomiya) and keeps seeing the same sign in the same hallway with the same man with a briefcase, labeled The Walking Man (Yamato Kochi) Sometimes, he’s looking at his phone, and sometimes, he smiles in a creepy way.
He does read instructions on another sign that say: “If you see any anomalies, immediately turn around,” and “If you don’t see any anomalies, don’t turn around.” He isn’t exactly sure what an anomaly is. It could be a sign dripping blood like it’s the early stages of the flooded elevator in “The Shining.” It could be another sign that changes from 0 to 1. Or it could be posters looking at him. Or it could be the hallways changing from white to yellow and then white again. There’s a lot of things changing in this subway station.
He finds himself basically inside a real life video game, as any mistake he makes sends him back to Exit 0. Then, we meet a small boy labeled The Boy (Naru Asanuma), who follows The Walking Man and later, The Lost Man. And the main protagonist and the boy sure know how to pay attention to their surroundings. It’s all about the attention to detail, and as I hear at train stations: “See something, say something.”
I remember a decade ago when “Hardcore Henry” was in the form of a first person perspective, and while that may not have been based on a video game, it was sure hectic like one. And I’m surprised that format didn’t make me puke. I’m glad “Exit 8” makes the right choice to only begin the film that way and change to a regular format. We’re able to acknowledge The Lost Man and his situation even before he gets caught in the vortex.
Co-written and directed by Genki Kawamura, and photographed by Keisuke Imamura, the subway hallways look and feel authentic, as it resonates with our reality. People do get lost in hallways and the subway does feel like some kind of a maze if you don’t travel on the train as much. It does get tedious near the third act with some CGI effects that seem obligatory and not really explained, but the rest plays almost like a Japanese Hitchcock movie with the puzzles and characters. The acting is great, especially Ninomiya, Kochi, and Asanuma, as they’re written with emotions and dispositions, instead of going all crazy about whatever Hell they’re placed in. And their dialogue couldn’t be more authentic and honest.
“Exit 8” may be based on a video game, but it never goes AWOL. It’s required to send the main protagonist back to the beginning, and confuse us with how the hallways are the same every time he turns around or keeps going. And it’s all within the challenges and entertainment value of the film. Now this is a puzzle worth putting back together.
