Genre is an effective tool for exploring major themes, because it provides a framework in which characters can aim for a particular goal that allows the themes space for exploration. Horror is often used for this purpose, as are science fiction and the western. A development of the western is the road movie, which has provided a framework for romance/coming of age such as The Sure Thing and feminist friendship in Thelma and Louise.
Next Exit uses the road movie framework, with elements of science fiction and horror, to explore notions of grief, guilt, human connection and more. Set in a world where ghosts have been scientifically proven to exist, Next Exit follows two New Yorkers who volunteer to die and have their deaths, or ‘transitions’, documented and catalogued for research by scientist Dr Stevensen (Karen Gillan). Rose (Katie Parker) and Teddy (Rahul Kohli) both believe their lives to have no value and have opted for this programme. But as bureaucracy often prevails in matters of the afterlife (see Beetlejuice, A Matter of Life and Death, Soul), some administrative awkwardness means that these two grumpy and hopeless individuals end up sharing a car for the trip across America. Cue much sniping and moaning, that gives way to sharing and laughing, and perhaps, just perhaps, some life lessons and stronger connection.
Feature debut writer-director Mali Elfman (daughter of composer Danny) manages a tricky balancing act between the predictable and the surprising. The growing relationship between Rose and Teddy is handled with delicacy and nuance, giving the actors space to breathe and inhabit their characters. Kohli demonstrates his leading man chops, turning potential cliches of his character into genuinely warm and engaging features. He’s a Brit in America who curses like a Londoner but thankfully does not say ‘Bollocks!’ all the time; he has serious daddy issues which are approached creatively; he has a dog that he gives up. Rose is perhaps more interesting, as she starts out as fairly unlikeable, lashing out at those around her while also shuddering at strange images in the mirror. But over the course of the film, the viewer is invited to sympathise with Rose, clearly a very unhappy and damaged person. Understanding that unhappiness and damage is key to engaging with Rose, and the film does a decent job of taking us along for the ride.
Presenting people who are literally and deliberately driving towards their own deaths runs the risk of misery porn and some filmmakers might gleefully lean into this (looking at you, Lars von Trier, Werner Herzog). Elfman, however, delivers a warm and witty script with winning humour, some of it charming such as drunken outpourings, some of it dark including other suicides. There are also grim moments such as a drinking game that exposes tragic history, and a recounting of past transgressions that furthers our understanding of why our characters are in dark places. Elfman also directs with confidence and creativity: the opening sequence that introduces the film’s treatment of ghosts utilises horror elements before flipping into a heart-warming if unorthodox moment. Other horror moments recall The Haunting of Bly Manor, that both stars appeared in, as glass reflects more than the physical world around our characters. Best of all is a rendering of the afterlife, an opportunity for visual expression that has featured in such varied films as What Dreams May Come, The Lovely Bones and Coco. All of which indicates that Elfman is a major talent whose career will be interesting to follow.
Where the film is less successful is its more cliched elements, one moment especially may induce a response of ‘Oh come on!’. The problem is less with this moment alone, more that it occurs without sufficient build. A similar arc appears in another high concept low budget debut, Gareth Edwards’ Monsters, but the development in that film has a sense of being earned and therefore carries greater dramatic weight. Furthermore, Next Exit does little with this development and the subsequent events of the film could have played out much the same without it. This lack of emphasis points to the somewhat low stakes of the film, which is strange to say when talking about people ready to end their lives.
While the subject matter of Next Exit is intriguing and potentially profound, the execution is shaky and does not explore the concepts in much depth nor is it fully persuasive. Do we truly believe that these people want to die, or more precisely do we understand why they want to end their lives? Various scenes of them complaining and, at times, crying and yelling, feel sparse and underdeveloped. As a result, how one feels about the end of the film will likely depend on whether the viewer is persuaded by the motivations of the protagonists or not. If it does, then the conclusion is likely to be emotionally satisfying. If not, then the finale is a little flat. Overall, Next Exit has its problems, but still offers heart and humour, along with some emotional moments and eye-catching moments of creativity.
Next Exit uses the road movie framework, with elements of science fiction and horror, to explore notions of grief, guilt, human connection and more. Set in a world where ghosts have been scientifically proven to exist, Next Exit follows two New Yorkers who volunteer to die and have their deaths, or ‘transitions’, documented and catalogued for research by scientist Dr Stevensen (Karen Gillan). Rose (Katie Parker) and Teddy (Rahul Kohli) both believe their lives to have no value and have opted for this programme. But as bureaucracy often prevails in matters of the afterlife (see Beetlejuice, A Matter of Life and Death, Soul), some administrative awkwardness means that these two grumpy and hopeless individuals end up sharing a car for the trip across America. Cue much sniping and moaning, that gives way to sharing and laughing, and perhaps, just perhaps, some life lessons and stronger connection.
Feature debut writer-director Mali Elfman (daughter of composer Danny) manages a tricky balancing act between the predictable and the surprising. The growing relationship between Rose and Teddy is handled with delicacy and nuance, giving the actors space to breathe and inhabit their characters. Kohli demonstrates his leading man chops, turning potential cliches of his character into genuinely warm and engaging features. He’s a Brit in America who curses like a Londoner but thankfully does not say ‘Bollocks!’ all the time; he has serious daddy issues which are approached creatively; he has a dog that he gives up. Rose is perhaps more interesting, as she starts out as fairly unlikeable, lashing out at those around her while also shuddering at strange images in the mirror. But over the course of the film, the viewer is invited to sympathise with Rose, clearly a very unhappy and damaged person. Understanding that unhappiness and damage is key to engaging with Rose, and the film does a decent job of taking us along for the ride.
Presenting people who are literally and deliberately driving towards their own deaths runs the risk of misery porn and some filmmakers might gleefully lean into this (looking at you, Lars von Trier, Werner Herzog). Elfman, however, delivers a warm and witty script with winning humour, some of it charming such as drunken outpourings, some of it dark including other suicides. There are also grim moments such as a drinking game that exposes tragic history, and a recounting of past transgressions that furthers our understanding of why our characters are in dark places. Elfman also directs with confidence and creativity: the opening sequence that introduces the film’s treatment of ghosts utilises horror elements before flipping into a heart-warming if unorthodox moment. Other horror moments recall The Haunting of Bly Manor, that both stars appeared in, as glass reflects more than the physical world around our characters. Best of all is a rendering of the afterlife, an opportunity for visual expression that has featured in such varied films as What Dreams May Come, The Lovely Bones and Coco. All of which indicates that Elfman is a major talent whose career will be interesting to follow.
Where the film is less successful is its more cliched elements, one moment especially may induce a response of ‘Oh come on!’. The problem is less with this moment alone, more that it occurs without sufficient build. A similar arc appears in another high concept low budget debut, Gareth Edwards’ Monsters, but the development in that film has a sense of being earned and therefore carries greater dramatic weight. Furthermore, Next Exit does little with this development and the subsequent events of the film could have played out much the same without it. This lack of emphasis points to the somewhat low stakes of the film, which is strange to say when talking about people ready to end their lives.
While the subject matter of Next Exit is intriguing and potentially profound, the execution is shaky and does not explore the concepts in much depth nor is it fully persuasive. Do we truly believe that these people want to die, or more precisely do we understand why they want to end their lives? Various scenes of them complaining and, at times, crying and yelling, feel sparse and underdeveloped. As a result, how one feels about the end of the film will likely depend on whether the viewer is persuaded by the motivations of the protagonists or not. If it does, then the conclusion is likely to be emotionally satisfying. If not, then the finale is a little flat. Overall, Next Exit has its problems, but still offers heart and humour, along with some emotional moments and eye-catching moments of creativity.