Horror Movie Review: The Exit 8 (2025)

Featuring psychological thrills and horror elements, The Exit 8 is a first-person game developed and published by Kotake Create. A game that popularised the ‘spot the anomaly’ style of gameplay, and arguably, is still the bar setter.

Yet, as much as I and many others enjoyed the game, the idea that it could one day be a film seemed absurd. Even when it was announced, it didn’t seem real. Yet, here we are, and as surprising as that is, the fact that it’s a very good film too, might be even more surprising.

Directed by Genki Kawamura, who co-wrote the screenplay with Kentaro Hirase, The Exit 8 stars Kazunari Ninomiya as a man (the lonely man as a chapter title calls him) trapped in a looping subway corridor. Where the only way out seems to be related to anomalies that he sees (or doesn’t see) on each loop.

How did he get here? That is a very good question, but if you’re expecting clear cut answers, you’re in the wrong place. The Exit 8 is a psychological horror film that deals with several different and difficult subjects, with one of the more prominent ones being about generational neglect and the guilt that comes with inaction. It’s about breaking habits, changing cycles, and not adhering to the same patterns when you can see the problems in front of you.

The Exit 8 has plenty to say, and a lot of it is open to interpretation. You will find yourself thinking and talking about it afterwards. Which, for me, is the sign of a good film.

Of course, it’s not all open-ended, and the film has plenty more blatant elements, especially when it comes to anomaly spotting. In fact, the film’s premise is spelled out in one poster which displays a Möbius strip in the shape of an eight with ants moving along it. There’s nothing coy here. The film wants us to look at the repetitive nature of life and how routine can breed apathy. We all trust the rules, believing that as long as we play by them, things will be ok. To break away from what is considered the norm takes strength, so we rarely do it, until we have no choice.

The Exit 8 makes this more personal, and while little is known about this man (we don’t even get a name), his story ends up being a compelling one. Yet, just as interestingly, the loop has its own story, and this allows the writing to step out of the shadow of the video game and become its own thing. I did not expect to see the game delve into the background of the ‘walking man’ (Yamato Kochi), nor did I expect it to introduce a small boy (Naru Asanuma). Both are part of some the film’s most thrilling sequences.

Is it scary though? Not really, even though the film does a good job of creating tension and building atmosphere. There are moments that will frighten some, specifically anomaly based, but for the most part, it’s focused on psychology. Using the location, silence, and the fear of the unknown to create a sense of dread. I love how it looks, especially as it perfectly captures the look and feel of the game, and the ever-changing camera angles really adds a disorientating feel.

Yet, for me, the most effective aspect that really made me feel uncomfortable, is its sound, or often the lack of sound. Who would think the simple sound of footsteps on a titled hallway could be so unnerving?

I went into The Exit 8 hoping that it would be good but puzzled as to how the game could ever work in film format. While it has taken some liberties with the horror side of things, it has delivered a film to remember. One that asks interesting questions and is brave enough to not give you clear cut answers. It’s well worth seeing.