The Way Out

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.

A thrilling LGBTQ+ film that delivers both excitement and tension, bolstered by strong performances from the cast. On the surface, it's a sexy and engaging thriller, but what truly sets it apart are the deeper themes interwoven into the narrative, exploring complex issues and emotional depths that resonate beyond the immediate plot. The script is solid, with sharp dialogue and well-developed characters, even though the "big twist" might be predictable for some viewers. Despite that minor flaw, the film remains a well-crafted and compelling thriller. It's an engaging and thought-provoking movie that I definitely recommend giving a chance!

This impressive film truly grows on you. It follows a young man grappling with the chaos left in the wake of his abusive father's death. The arrival of a mysterious and dangerous stranger, who offers guidance on life, sex, and self-defense, pulls the young man into a treacherous new world. As their relationship deepens, the lines between friend and foe blur, ramping up the tension and suspense. Each twist and turn is more unexpected than the last, keeping viewers on the edge of their seats with a constant sense of looming danger. This film masterfully explores the darker facets of trust, survival, and the lengths one will go to reclaim control of their destiny. It's a captivating experience that stays with you long after the credits roll.

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.

"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.