The Way Out

In The Way Out, director Barry Jay crafts an intense psychological thriller that dives deep into the complexities of trauma and survival. The film follows a young man, reeling from the recent death of his abusive father. Struggling to find direction, he crosses paths with a charming yet dangerous stranger. This enigmatic figure becomes an unexpected mentor, imparting unconventional life lessons that span the spectrum from the intimate and personal to the violent and empowering. As the young man learns about life, sex, and how to fight back, he begins to reclaim his sense of self and confront the ghosts of his past. Barry Jay masterfully weaves a narrative that is as unsettling as it is captivating, making The Way Out a compelling exploration of resilience and transformation.

A gripping psychological thriller that follows a young man dealing with the sudden loss of his abusive father. Stuck in a dead-end job as a pizza delivery driver, he learns that his father has died of a "massive heart attack." With the support of his AA sponsor and his girlfriend, he begins to navigate his new reality. Inheriting his father's house and a mountain of unpaid bills, he starts renting out rooms to make ends meet. This leads to an encounter with a mysterious and unsettling stranger who teaches him how to fight back.

The film takes you on a wild ride filled with suspense and a quest for revenge. The acting and storyline are both compelling and well-executed, making it a standout in the thriller genre. The intense and engaging narrative keeps you hooked from start to finish.

No doubts, tempting to be real critic about it. But it is an unfair reaction. First, for the correct work of Mike Manning , proposing decent portrait of manipulativ revenger, poisoned at whole by past traumas and for not bad portrait of vulnerable Alex offered by Jonny Beauchamp.

But the good point is represented by Sherri Shepherd and Ashleigh Murray performances.

Another virtue - the problems explored, from the relation with abusive father to the fight against alcohol, feminine friends of a young homosexual and the desire as source of terrible troubles. And, sure, the education for a young man who was out of father good influences.

Difficult to ignore the cliches and the unrealistic situations, part of them too forced or artificial, but the end lines are fair clue about educational purpose of film.

This intense psychological thriller from director Barry Jay is a must-watch. Jonny Beauchamp stars as a young man grappling with the sudden death of his abusive father. Stuck in a dead-end job as a pizza delivery driver, he learns that his father has died of a "massive heart attack." With the help of his AA sponsor, played by Sherri Shepherd, and his "girlfriend," portrayed by Ashleigh Murray, he begins to navigate his new reality. Inheriting his father's house and a pile of massive unpaid bills, he decides to rent out rooms. This leads to an encounter with a mysterious and unsettling stranger, played brilliantly by Mike Manning, who teaches him how to fight back.

"Alex" (Jonny Beauchamp) is a young man recovering from a ghastly relationship with his father. He's pretty broke, in a bit of an emotional cul-de-sac and working as a pizza boy when he encounters the enigmatic and charming "Shane" (Mike Manning) with whom he soon becomes fascinated, infatuated and every so slightly obsessed. His new mentor determines to push "Alex" to his limits, then beyond those limits - enabling him to more fully enjoy sex, but also to be able to defend himself from those who would gay-bash him. As you will expect, there is quite a bit more to "Shane", and as this revenge thriller pans out, we discover a little more of just how his eye-for-an-eye mentality delivers brutal and violent results. My problems with this were twofold. The dialogue is extremely uninspiring, pedestrian even. This story deals with real issues faced by many young gay men who have difficulties with their parents, their friends, with alcohol and their own self-esteem and self-worth. The writing here is just too light-weight and it doesn't arm either character - especially Beauchamp - with enough to really punch through. The second is the woefully underlit photography. It's as if it were all being shot using some candles, or a Davy lamp. That works at certain stages of the story, but after a while I felt the whole point of "Alex" not having to live in the shadows was being compromised by director Barry Jay's choice to film it as if we were all in a cave. It's a solid story that looks at a few salient (and criminal) point. This just doesn't deliver that story very well.