Name: No One Gets Out Alive
Genre: Horror, Mystery, Thriller
Released: 2021-09-29T00:00:00+00:00
Cast: Cristina Rodlo, Marc Menchaca, David Figlioli, Claudia Coulter, David Barrera

The first time we see Ambar’s face pressed against the boarding house window, desperate eyes scanning for an escape that won’t come, “No One Gets Out Alive” makes a promise it can’t keep. Director Santiago Menghini’s adaptation of Adam Nevill’s novel trades in atmospheric dread, but what starts as a moody, claustrophobic nightmare descends into generic horror tropes and a bizarre caterpillar creature that undercuts any real tension.

The film follows Ambar (Cristina Rodlo), an undocumented immigrant from Mexico working under-the-table jobs in Cleveland. When she’s forced to take a room in a decrepit boarding house, the setting feels ripe for psychological horror—long hallways bathed in sickly yellow light, creaky floorboards, and an ever-present sense of being watched. Rodlo’s performance anchors these early scenes, her exhaustion and vulnerability palpable as Ambar navigates both the hostile American landscape and the increasingly sinister space she now calls home.

Rodlo is the film’s standout, delivering a grounded performance that makes Ambar’s fear feel visceral. Her quiet moments—packing her few belongings, hesitantly engaging with other tenants, or sitting alone in her room—are where the film shines. These scenes highlight Rodlo’s ability to convey emotion without words, making Ambar’s eventual descent into terror all the more affecting.

Where the film stumbles is in its execution of the horror itself. The first half builds tension effectively through sound design—a whisper here, a thud there—but once the supernatural elements manifest, they feel cheap rather than chilling. The caterpillar-like creature that becomes the film’s primary antagonist is an odd choice, its design more laughable than frightening. This creature disrupts any semblance of realism Menghini had established, and its presence feels like a misstep in tone.

The supporting cast fares little better. Marc Menchaca as Red, a fellow tenant with questionable motives, and Claudia Coulter as Mama, the boarding house owner with secrets of her own, chew scenery rather than embody it. Their performances veer into cartoonish villainy, undermining what could have been nuanced explorations of exploitation and desperation. David Figlioli as Becker, another tenant, fares slightly better but still feels like a stock character—mysterious, potentially dangerous, but ultimately one-dimensional.

Structurally, “No One Gets Out Alive” follows a familiar horror formula: jump scares, ominous nightly appearances, and isolation for the protagonist. But where Nevill’s novel used these elements to explore themes of poverty and malevolence, Menghini’s adaptation often feels like it’s just going through the motions. The plot resolves too neatly, with twists that feel contrived rather than earned. The film’s reliance on genre tropes—such as the “final girl” trope and the reveal of a hidden room filled with disturbing artifacts—lacks originality.

That said, there are moments of genuine unease. A sequence in which Ambar discovers a hidden room filled with disturbing artifacts is particularly effective, as is an early scene where she wakes to find her belongings rearranged. These instances prove Menghini has an eye for creeping dread—he just doesn’t sustain it. The film’s pacing also suffers from unevenness; some scenes drag while others feel rushed, creating a disjointed viewing experience.

The film’s themes of isolation and desperation are compelling but underdeveloped. Ambar’s status as an undocumented immigrant adds a layer of realism to her plight, making her vulnerability all the more poignant. However, the film fails to fully explore these themes, often prioritizing cheap scares over deeper commentary.

In comparison to other horror films that tackle similar themes—such as “The Babadook,” which uses its monster as a metaphor for grief and trauma, or “Hereditary,” which explores familial dysfunction through supernatural horror—”No One Gets Out Alive” falls short. These films use their horror elements to delve into complex emotional landscapes, while Menghini’s adaptation feels content to merely entertain.

The film’s target audience is likely fans of straightforward horror fare, those looking for a quick thrill rather than a thought-provoking experience. However, even within this niche, “No One Gets Out Alive” struggles to stand out. Its reliance on generic scares and underdeveloped themes makes it feel like yet another entry in an overcrowded genre.

In the end, “No One Gets Out Alive” is a missed opportunity. With its compelling premise and strong lead performance, it had the potential to be something more than another forgettable horror flick.