There is also some clever exploration of the underlying causes of Alex’s substance abuse woven in. The gravity of his situation is reinforced by the bloody expressionism of Shane’s actions. I just wish the twist in the third act had been introduced into the second, as it is such a juicy reveal it would have been a blast to play out longer. Of course, this would have tampered with the delicate balance the filmmaker maintains, but boy, it would’ve been wild. This is one of the few times where I would not only tolerate an inappropriate sequel; I would welcome it.
In the end, The Way Out cuts so deep because of its razor-sharp performances. Beauchamp takes a good role and makes it great. Every painful plateau reached comes over as genuine. The actor also excels at projecting attraction; very rarely has desire been so plainly in one’s face. It is his being visibly drawn to Shane that establishes the power he wields, which is how power bottoms work their magic. Manning slays all dragons as the male fatale, exemplifying both the sexual excitement and mortal danger that is the core of Shane.
“…cuts so deep because of its razor-sharp performances.”
Murray has a complicated emotional role that she pulls off masterfully. It was noticeable how seamlessly she acknowledged Alex’s attraction to men as a natural part of their relationship. I did a double-take when I saw Shepherd’s name on such a dark picture. I thought it had to be stunt casting for sure. Well, if there are emotional stunts out there that require professionals, Shepherd is more than up for the challenge. As the AA sponsor, she shows how real she can get. She has a lot of talent that other filmmakers would do well to utilize.
The Way Out is not for everybody, as it goes much farther than some are comfortable going. However, those who like movies bitter and strong, like robust coffee, will drink deep here. Plus that cast, yes, please.
"…bitter and strong, like robust coffee..."
