EXIT PLAN – movie review

EXIT PLAN (Selvmordsturisten)
Screen Media
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Jonas Alexander Arnby
Screenwriter: Rasmus Birch
Cast: Nickolaj Coster-Waldau, Kate Ashfield, Jan Bïjvoet, Tuva Novotny, Robert Aramayo
Screened at: Critics’ link, NYC, 5/30/20
Opens: June 12, 2020

Exit Plan Poster

To paraphrase Winston Churchill’s comment about the Soviet Union, “Exit Plan” is a riddle wrapped in a mystery inside an enigma. Just when you think you’ve figured it out—is it a dream? A tumor-inspired hallucination? A strange, horrifying reality? Anything is possible in this Danish movie with English subtitles and some spoken English (Scandinavians are famous for fluency in English) but by the time the film is over, you’re not sure what happened. To its credit, this is a horror movie without the slashing, a psychological thriller without car chases or explosions. “Exit Plan” is a virtually a chamber piece whose focus is fixed on the principal character, who by his expressions tries to tell us in the audience what he’s thinking and feeling. He takes off his glasses and leans his head on the table. He stares at a loved on as if afraid to tell her what he’s feeling. He even smiles sometimes, which is not easy if you have a terminal, growing brain tumor that, as one knowledgeable person notes, might make you mistake your wife for a dog–not an entirely bad idea since you’ll probably give her some affection for a change.

This is a star vehicle for Nikolai Coster-Waldau, who you’ll remember in the role of Jaime Lannister from “Game of Thrones.” He is directed in a sophomore feature by Jonas Alexander Arnby, whose previous movie, “When Animals Dream” finds 16-year old Marie living on a small island with her seriously ill mother and her father. When suddenly mysterious deaths happen and Marie can feel something strange happening to her body. You’ll see that the Copenhagen-born director is right in his métiér with this one.

Max Isaksen (Nikolaj Coster-Waldau) learns that he has terminal brain cancer. To avoid a painful demise, he opts to travel by car and small plane to the frosty north (could be Denmark, Norway, Finland or Sweden), registering with the Hotel Aurora. The management therein provides assisted suicide fantasies allowing guests to have dream suicides, choosing the landscape, the method, the whole shebang. The trouble is that the Aurora is like the Roach Motel. You go in, but you can’t come out. Yep. Once you sign the register, you are not allowed to leave. In fact bolting is more difficult than breaking an apartment lease in New York.

While clad in pajamas, Max waits out the few days till his demise, chatting with one woman who will try to escape, but each time he has a talk back home with his wife Lærke (Tuva Novotny) he does not know how to raise the topic. Most of the time, director Arnby, using a script by Rasmus Birch, whose “Brotherhood” deals with Danish servicemen thrown together in a neo-Nazi group, tries to penetrate Max’s mind, his expertise being able to let us in the audience know what it’s like to be in an extreme existential crisis.

The pace is slow, picking up during the final fifteen minutes when Max decides whether he wants to go through with the plan or has cold feet. (When in one scene he falls through the ice, his extremities are literally freezing.) A good indie for a patient audience.

85 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B-
Acting – B
Technical – A-
Overall – B

THE NIGHT CLERK – movie review

THE NIGHT CLERK
Saban Films
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Michael Cristofer
Screenwriter: Michael Cristofer
Cast: Ana de Armas, Helen Hunt, Tye Sheridan, John Leguizamo, Johnathan Schaech, Jacque Gray
Screened at: Critics’ link, NYC, 1/31/20
Opens: February 21, 2020

You might expect Michael Cristofer’s “The Night Clerk” to be in tune with his directing interests, given that his previous film, “Original Sin,” unravels a scheme by a woman and her lover wherein the woman is to marry a rich man and run off with his money. The plot fails when Angelina Jolie’s character, Julia Russell, falls in love with the guy she marries. (We won’t talk about the reviews.) This time Cristofer is at the helm of a crime story that focuses on Bart Bromley (Tye Sheridan), a 23-year-old fellow with Asperger’s syndrome, who runs the night shift at a small hotel. Because of his impairment, he is unable to make eye contact with others, and speaks formally with too much detail, which is a symptom of high intelligence. Nor can he pick up on social cues.

Bart Bromely, the title character played by Tye Sheridan, is afflicted with this neurobiological condition. Nevertheless he has a job as a hotel night clerk because, the manager says, the company has a policy of hiring people with impairments. In order to learn how to speak informally, Bart, who is a wiz at camera technology, sets up hidden cameras in the rooms not because he is a perv voyeur but because he uses the guests to instruct him in how to speak. This provides some of the movie’s comedy, as when the beautiful Andrea (Ana de Armas) is checking in, getting an earful from robotic Bart on the amenities the hotel provides.

“The Night Clerk” moves into crime territory when Bart’s camera captures a struggle between a man, Nick (Johnathon Schaech) and a woman, Karen (Jacque Gray), an argument that results in the woman’s murder—all picked up by Bart. He interferes with the body, gets blood on himself, and is considered by police detective Johnny Espada (John Leguizamo) to be the prime suspect. At this point the movie breaks away from a crime genre to explore a relationship showing Andrea, a new guest who is charmed by Bart’s awkwardness, particularly when Bart discusses like a walking Wikipedia how love is an addiction, like cocaine, releasing a flood of endorphins, and how heartbreak occurs when the love (like cocaine) is withdrawn.

Helen Hunt appears from time to time as Ethan Bromley, Bart’s mother, who tries to defend her “fragile” boy from the detective’s interrogation. Here and there, Cristofer’s script establishes comic points, as when Bart, who like Jim Carrey’s Fletcher Reede in “Liar Liar,” not only cannot lie but insists on proactively telling people truths they don’t want to hear. A used car salesman (D.L. Walker), hears from Bart not only that the dealer is obese but that obesity can cause cancer, diabetes, heart attacks and strokes. Nor is a clothing salesman (Walter Platz) off the hook, informed by Bart that he would never wear slacks recommended by the dealer because the dealer is “old.”

Activities surrounding the murder of a blond woman in a hotel room pop up now and then during Espada’s interrogation, but this is primarily a film about a tender but unconsummated affection between Andrea and Bart, though there is some reason to believe that Andrea is using the night clerk, setting him up along with her boyfriend Nick, to take the blame for the killing.

Tye Sheridan, whose performance might be compared to that of Dustin Hoffman’s Raymond Babbitt in “Rain Man” and Tom Hanks’ title performance in “Forrest Gump,” is solid and delivers visual understanding of a condition that affects one person in every five hundred. Sheridan is perhaps best known as Ellis in Jeff Nichols’’Mud,” about two boys who help a fugitive to avoid capture by vigilantes. His job this time is so good that you in your theater seat might feel like getting up, frustrated by the projection of his autism, to shout, “What’s the big deal? Just look him in the eye and stop talking!”

90 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – B+
Technical – B
Overall – B