EUFF 2014: Exit

exit

Slovenia’s entry into this year’s European Union Film Festival is an infuriatingly awful clusterfuck of clichés called Exit. The film takes the simple concept of a bank robbery and turns it into a nonsensical claptrap that tries far too hard to be clever and unique.

Exit follows two couples who are so sick and tired of their routine lives that they decide to quit it all and go live on a tropical paradise, funded by the massive inheritance of one of these four. But when they go to the bank to retrieve this fortune, they learn that the company in which it had been invested has gone bankrupt leaving the investors high and dry. Heartbroken, the friends all but give up until one of them decides that robbing the bank which led them astray was their solution and set out to plan the perfect scheme to fund their fantasy. Facing ridiculous obstacles, like a second group of robbers who decides to rob the same bank at the same time and a pair of testosterone-driven detectives, the friends struggle to fight their way to their dream.

Sure, it sounds like a great movie, but it is not. Its most obvious flaw is that it exudes that cringe-worthy feeling of “trying too hard.” From bizarre camera angles that run the gamut of Scorsese-esque to a handheld camcorder, dreadful over-the-top acting and scenes oozing with too many clichés the audience can’t help but flinch at its banality. The film’s only sex scene is the worst of them all for it’s shot with coloured mood lighting behind silhouettes, appears simultaneously  for both couples and looks like it was ripped off from a 90s soft core porno.

Couple that with the bizarre plot twists–such as the fact that a renowned hacker requested 20,000 Euros be donated to a children’s hospital as his payment or the fact that, when cornered, the two males embark on a joint soliloquy about political corruption during negotiation with the police or, best of all, the “twist” ending of the film–and you’ll be squirming with embarrassment for the film. The biggest flaw, however, is the fact that the two women who make up half the main cast are hideously underdeveloped. They seemingly only differ in their hair colour and names (just barely, since they are called Lara and Sara) and seem to be nothing more than a way to keep the film from being a total sausage fest.

Overall, this movie could easily be mistaken for one made by film students who have watched too many kitschy thrillers and have more gumption than talent.

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