'Exit 8' Review: A Claustrophobic Descent into Loops, Loss, and Lunacy
- Jack Ransom
- Oct 9
- 3 min read
By Jack Ransom - October, 2025
An adaptation of the video game of the same name. Exit 8 sees a man (Kazunari Ninomiya) become increasingly desperate when he realises he is trapped in a subway station, needing to complete a mission to get out.
Starting this year’s London Film Festival with somewhat of a blind watch. I had seen snippets and heard rumblings around Exit 8, but when snippets of further info were released (and with it being a video game adaptation), I didn’t hesitate to snap up the ticket. Though I haven’t played the game (I do want to now), conceptually and from a presentation standpoint, this swiftly nails ‘feeling like a game’ and reminded me of a more horror-angled version of The Stanley Parable at points (minus the sarcastic, comedic narration).
As a sucker for bottle thrillers and time loop concepts, there was a lot to like here. For the first five to ten minutes, we are in the first-person POV of who will later be dubbed ‘The Lost Man’, who receives a phone call with life-altering news that sparks his asthma and spikes his anxiety. He continues through the subway, before he quickly realises he’s repeating his steps through a looping, duplicating route. The intrigue is instantaneous, and a sign on the walls establishes the rules of this existential game that he has been caught up in.
Without going too in depth into the details, the film does an excellent job of viewer engagement and immersion in the concept, thanks to the ‘anomaly’ rule, (where the Lost Man must spot or experience something out of the ordinary repetition of the loop to help break the cycle), it will have you analysing and searching the surroundings for any hint of further oddness. Admittedly, this does fall into the main trap of a lot of these types of films’ face in which the repetition does sink in, and there is somewhat of a lull in the second half, which does make the film feel somewhat stretched out even at just over 90 minutes.
Whilst the metaphors and overarching themes are less than subtle, the imagery and sounds on display are certainly unique and deliver some genuinely creepy and bizarre moments. From screaming lockers, rats like you’ve never seen them before, bleeding walls, and posters with peering eyes, the film certainly keeps up the thrills. The bright, squint-inducing artificial lighting of the never-ending subway is well captured, and long gliding and tracking shots establish the location and keep the film flowing along.
Ninomiya’s passive, nervous, and everyday portrayal of The Lost Man is engaging, and seeing his growing paranoia, fear, and frustration escalates effectively. Yamato Kôchi’s eerie and stoic The Walking Man has a great presence, and the film delves into his character further in the mid-section, allowing him to showcase his paranoid portrayal. Lastly, the mostly silent Naru Asunuma as The Boy delivers an eerie and subtle performance.
Exit 8 is certainly in the upper echelon of video game adaptations and makes me want to play the game that inspired it. The strong camerawork and direction, inspired visuals, solid performances, and layers of intrigue keep it engaging. It is hindered by a repetitive central structure and can drag a little in the second half.
The film Exit 8 does not yet have a confirmed UK release date, although it was shown at the BFI London Film Festival 2025 in early October and Neon plans to release it in the US in early 2026.
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