Nobody gets out of here alive: critics who don’t even care


Released in 2018 in our region, Le Rituel made a strong impression on us both through its grisly management of the atmosphere and its fair and concise characterizations. So, with a mix of curiosity and excitement, we welcome Nobody Leaves Here Alive, the second adaptation of writer Adam Nevill by Netflix. And frankly , we wish this book more success .

As Netflix jealously values ​​its 200 million users like Smeagol before a jewelry store, the platform must now compete with ingenuity and production capacity to avoid being overwhelmed by its close competitors (Disney+, Amazon Prime). Therefore, it is natural for N Crimson to turn to literature to expand his field of possibilities. A wise choice when you look at the scores of Le Jeu de la Dame, La Chronique des Bridgerton or YOU, all inspired by written work.

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No one leaving here alive fits this strategy. The second adaptation of an Adam Nevill work after the excellent The Ritual of David Bruckner (The Prey of a Shadow), Nobody Leaves Here Alive follows Ambar, an illegal Mexican immigrant who settles in Cleveland after the death of his mother, who dies as a result of Ambar’s inability to pay. exorbitant medical costs. When she moves into a cheap boarding house, Ambar will quickly realize that something is wrong with this house full of ghosts and mysterious warehouses…

Already, the decision to move the action from England to the United States while turning the work’s main character into an illegal Mexican immigrant, was definitely the film’s best idea. In the soon-to-be-made “simple” supernatural horror film Nobody Leaves Here Alive superimposes a metaphorical political-social discourse about America’s giant social and capitalist system destroying and exploiting illegal immigration to the bone.

The feature film even allowed him to approach his bereavement and acceptance, as brutal as it was. Clearly faced with triple Xl’s statements trying to combine so many themes, we think of Her Incredible Home released in October 2020 on Netflix, in which several South Sudanese refugees newly placed on the outskirts of London are confronted with the ghosts of their past. , more real than they imagined…

Despite this ultra-ambitious program, Nobody Leaves Here looks like a raunchy draft of His House. If film has lofty ambitions on paper, a trip to the screen is as easy as sending octuplets together. It’s very simple: nothing ever works completely, three words parasitizing and intermingling without ever having one of them built or completely finished.

With decent handling of Michael Madsen soaked like a molotov cocktail rag in Bloodrayne Uwe Boll, the feature film runs its program over 1 hour 30 on full autopilot. You can almost feel the sensation of hearing “it’s over” from director Santiago Menghini at the end of each scene. A sad assessment when you see the potential of what the film has to offer .

With a tight 1h30 run, this film has too much to say and doesn’t know how or when to do it. Nothing leaves here alive – life doesn’t know how to save its effects and even less to set the scenario. The twists and elements of the scenario thus seem to unfold in a very mechanical way, like a series of checkboxes, when they are not simply thrown hastily or placed there without further explanation.

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Scenarios therefore try to make these themes exist, each on its own, while trying to connect them to the same common thread. But not only does the story unfolding sound very programmed but these themes are approached in a very dangerous way, the elements being spread across the 4 corners of the film as if they had been swept by a storm at the opening of the screenplay. . Instead of successfully creating a heavy atmosphere, this film seems to only string uninteresting scenes to its climax.

The final climax is also an excellent example of the frustration generated by the film. Everything we’ve seen over the previous hour will finally take on its full meaning, all the pawns have been set. But coloring Warhammer’s figurine black didn’t make her a queen, and what would have been an emotional highlight ended up being an admittedly intense but far less intense scene than the film.

Blame it on the incomplete elements, sloppy story development almost as much as the characterizationsa. While the emotional core of the film, Ambar is well developed and strongly interpreted by Cristina Rodlo, the rest of the characters look like some blurry silhouettes that are almost as see-through as the ghosts haunting retirement, the main setting of the feature film.

In the end, the saddest thing is without a doubt the lack of a solid gruesome vibe that allowed the film to stick around despite its messy appearance. All the tragic and bloody family histories of the retired owner duo practicing illegal immigrant sacrifice in their basement as well as the general setting of this seemingly disturbing home nonetheless offer a formidable breeding ground.

Unfortunately, despite some pretty staging ideas (butterflies, a traumatic event brought back to life by a ghost, mom’s final murder), director Santiago Menghini never goes beyond his point, linking shot to shot and visible effect. a thousand times elsewhere in a thousand times better . A trivial accomplishment, helped a little by his somber photo, a mix of turquoise and gray that Christian gray wouldn’t even wear on a sock. Just an added disappointment for this beautiful idea on paper but messy and superficially executed.