Leading a neo-Breakfast Club of flavorless stereotypes — a slick businessman (Jay Ellis), a war veteran (Deborah Ann Woll), a coal miner (Tyler Labine), a mega-nerd (Nik Dodani), and a wage drone (Logan Miller) — Taylor Russell stars as Zoey, a shy college student who geeks out over scientific theory, but mostly keeps to herself. Her professor encourages her to take some chances and do something uncomfortable over Thanksgiving break and she obliges by accepting the escape room invitation. When she and the others gather together in the waiting room, they quickly discover that they’re not only already in the game, but they’re playing for life-or-death stakes. Those hidden codes and keys will not merely advance them to the next challenge, but prevent them from, say, succumbing to hypothermia or dropping through a collapsed floor or getting burned alive.There’s the tiniest sliver of wit to Dodani’s character, an escape room savant who keeps on believing the mortal threats are part of the staging — “It’s really immersive!,” he declares — but Game Night this isn’t. There’s a serious agenda at play here, grounded in the tediously rendered traumas that haunt each member of the group via flashback at various stages. Their personal histories have been harvested by their hosts and an experience has been tailored to their specific vulnerabilities. Call it Facebook horror. If it can be called horror at all. watch Dragon Ball Super Broly Director Adam Robitel, who kicked off last year’s opening weekend with Insidious: The Last Key, tries to give each room its own visual and logistical quirks, like a bar where the ceiling is the floor or a frozen lake where the temperature keeps dropping. But they all have essentially the same flavor, with the surviving characters scrambling desperately to figure out whatever riddles and combination locks will get them to the next set of riddles and combination locks. Even at higher stakes, these puzzles are only compelling to the solvers. It’s no fun to look over their shoulders.When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.I tend to esteem motion pictures more for their aesthetic value than for their use value but sometimes there are exceptions. Through scrupulous and heightened simulations of terrifying reality, last year’s “First Man” reminded me why I never even entertained the notion of becoming an astronaut.