Mae Abdulbaki

It grows tedious because it feels like we’re holding our breath waiting for something more significant to happen for the lead’s character development, and yet it remains largely stagnant. Exit 8 has so much squandered potential. It might have made for a better short film than a full feature, but as a psychological horror, the film falls flat.

What the film does have is a sense of style and an ability to keep us engaged through a riotous cast that is clearly having a lot of fun.

There’s a sincerity that underscores its central themes, and the performances, writing, and direction don’t cut corners to get to the end. And what we end up with is a comedy-drama that understands what a thoughtful exploration of a relationship can look like onscreen.

Cervera’s film is consistently intriguing, elevated by the dynamic between Winstead and Monroe, who have solid onscreen chemistry.

From the opening scenes, The Woman in Cabin 10 hooks us and doesn’t let go.

If anything, She Loved Blossoms More isn’t weird enough, holding out on exploring what’s beyond the time machine, which is the most compelling aspect of the film.

With good pacing, writing, and a stellar cast, Barker has crafted a directorial horror debut that is deliciously dark, absurd, and eerie.

There’s an emotional resonance that permeates the film and fills your heart with an ache so strong that it’s difficult to walk away without being affected.

Tipping and his co-writers have a lot of great ideas and thought-provoking commentary about the way we treat athletes, but the lead-up to an admittedly explosive conclusion doesn’t land. Wayans and the score seem to be doing most of the tension-building. It’s a shame the rest of the film couldn’t rise to the same level.

A rousing story about finding someone and falling in love this is not — nor does it truly contend with the need for human connection very well.