Critic Reviews

The concept is original, and the film spends a lot of time misdirecting or not explaining things thoroughly, adding an intriguing layer of mystery. The questions the film asks about life, love, and morality are heavy but not so much as to weigh down everything.

This is a film that provides more questions than answers but leaves plenty of food for thought.

Exit Plan works. At times hallucinogenic; at times tranquil. Despite a growing consensus that the film is undermined by its determined and plodding pace, it is by no means ineffective.

The film manages to be a meditative essay on death and dying and love, even if the chill never quite wears off.

I went in expecting a generic plot-based thriller with Max knocking on doors for a mystery that risks his life and mostly received an emotionally introspective character drama about mortality and grief instead.

Even with a nuanced performance from Coster-Waldau and beautiful cinematography, Exit Plan is a slow-burn drama that fizzles out in the end.

There is real potential in this premise, and a few flickers of genuine artfulness, but the storytelling is frustratingly abstruse, making for an Exit Plan that’s a real missed opportunity.

If mid-level dank atmospherics attending well-replayed semi-dystopian “dark” mechanics are sufficient to hook you into a genre movie, you’re all set. If you demand better, this won’t do.

Exit Plan has been retitled from “Suicide Tourist” for its U.S. release, and while the original monicker was certainly punchier, the new one perhaps better captures the gist of a movie that’s ultimately a little too polite and vague to make much of its intriguing premise.

It's telling that the film's original Danish title, which translates to "Suicide Tourist," has been changed for its U.S. release. Exit Plan sounds much more dynamic, indicating the sort of action thriller that the star's fans probably expect. They're likely to be quite disappointed by this stylish, cerebral drama that doesn't really have anything profound to say.