Against the Clock
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Against the Clock

Against the Clock Max (Nikolaj Coster-Waldau) is an insurance adjuster who just told his latest client that her Against the Clock claim wouldn’t be approved since her husband’s six-month disappearance isn’t confirmation of death. It’s a revelation that leaves her distressed not because she won’t be getting the money, but because she’ll have to continue living with the possibility he might still be alive. She wishes for a body because it would provide answers. She wishes Max would sign-off on the plan anyway because doing so would supply a legal document declaring him dead that she can use to finally move on. The arrival of a videotaped suicide note is therefore received as a godsend. It’s the lead Max needs to open an investigation and officially discover the truth inside The Aurora’s euthanasia-themed hotel.

It’s an intriguing set-up for a suspense thriller where Max infiltrates the organization to figure out if Arthur (Anders Mossling) truly is deceased. Despite it being the hook manufactured by the trailer, synopsis, and 2018 Variety exclusive that announced Exit Plan to the world, however, it isn’t even remotely relevant to the finished product. My saying this isn’t a subjective interpretation of the film, but a reality I wholeheartedly embraced during its entire first half. While Max is an insurance salesman who does reject Alice Dinesen’s (Sonja Richter) claim, his decision to travel to The Aurora isn’t about doing his job. There isn’t even a line of dialogue pretending as much once we learn Max suffers from an inoperable brain tumor. He goes there to die himself.

Duration: 102 min


IMDb: 2.6