Mark Reviews Movies: NEXT EXIT

Next Exit, Magnolia Pictures

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Review by Mark Dujsik | November 3, 2022

Ghosts have been discovered to exist in the world of Next Exit. If that's true, that means there is also definitive proof of some kind of life after death, and from there, it probably doesn't need to be explained why some would start looking for a way to die sooner than the natural course of their lives.

Despite some big answers being taken for granted in writer/director Mali Elfman's movie, there are still some big questions left to be explored here. The screenplay hints at some of them, as the organization that proved the existence of ghosts takes their research a step further by calling on volunteers to be "explorers" into the Great Previously-Unknown and government officials debate what, if anything, should be done about such activities. Elfman smartly pushes those political debates off to the background and instead focuses on two characters who have decided to become this new kind of "pioneer." Surely, their shared decision is worth exploring.

The disappointment here is that Elfman's screenplay seems more concerned with other matters. Some of them at least relate to the characters of Rose (Katie Parker) and Teddy (Rahul Kohli), who learned about this scientific breakthrough and, for their own reasons, have volunteered to die with the assistance of Life Beyond, the institute that made the initial discovery (In a pre-recorded and glorified cameo, Karen Gillan plays the revolutionary scientist in charge of the project). Each of them has an appointment for assisted suicide in the coming days, and by chance, they end up sharing a rental car together to make the trip from New York City to the organization's headquarters in San Francisco.

Yes, this is a road-trip movie. The simplicity and familiarity of that plot device easily could be a benefit for this story, which might have much more significant matters on its mind than coming up with a reason that two characters would be stuck together for an extended period of time to discuss and debate what's really happening.

The strange thing, though, is that neither of these characters is particularly talkative, thoughtful, or curious about what has brought them to this decision or what's to come once it has been made. The formula, unfortunately, seems to matter more to Elfman than the topic, questions, and concerns that she has raised by introducing this subject matter and gimmick.

Mostly, the story becomes about how Rose and Teddy are a mismatched pair, bicker for the first leg of the trip, start to bond over some personal information and revelations, and arrive at a mutual understanding—as well as something else that's predictable and, considering the larger concerns within this tale, frustrating—by the time they reach their destination. Rose, we learn, has suffered from depression and suicidal thoughts since she was at least a teenager. Teddy has some father issues, since his dad treated him poorly when he was around and stopped communicating with his soon when he left his family.

Obviously, the two will eventually confront those issues, but in the meantime, they're stuck in a car together, since Rose has a driver's license but no credit card and Teddy has a credit card but no valid driver's license. She just wants some peace and quiet on the days-long trip toward her destiny, and he can't help but chat about himself and question his newfound companion about herself, her life, and her choice to end that life.

The movie's initially comedic tone and the confrontational nature of this relationship do the material little favor. It's not that one couldn't or shouldn't find humor in such a situation. It's simply that the specific setup shows how safely and simply Elfman wants to play the material.

Rose and Teddy argue and stew in their own feelings on the road, at various bars and diners along the way, and in assorted motel rooms. At first, Rose problems are hinted at by way of visions she has of a ghostly shadow, lurking behind her and taunting her with knowledge of some terrible secret. This is both a literal specter, in that Rose's estranged mother died some years ago with unresolved issues, and a metaphorical one, since the woman does have those mental health issues. The big revelation about her character has to do with a sister (played by Rose McIver) from whom Rose has been keeping a secret, and while there's much more to the character in terms of her self-destructive tendencies and habit of creating an isolated bubble for herself, the movie simplifies all of that to this one, apparently dreadful mistake.

As for Teddy, part of his rationale for renting a car involves a planned confrontation with the father who abandoned him. After a lot of silence and some misadventures (including one involving a man who jumps in front of the car with a sign thanking whoever hits him) and some lessons about life from random strangers, Rose and Teddy become friendly and more than that.

All the while, the tough questions of Next Exit are left unanswered, which is fine and to be expected, really. In relegating such thoughtful material to such a formulaic premise and simplistic character arcs, though, the movie also ensures those bigger questions are left unasked.

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