Two Unique Escape Room Experiences at EscapeHouse Chicago. IMPORTANT MESSAGE REGARDING TEMPORARY CLOSURE - COVID-19 (312) 981-6633 54. We can host up to 35 people at the same time. When it comes to movies, you could do worse to escape your post-holiday blues than this one. Book your escape room Chicago experience today to test the limits and challenge yourself. BOOK NOW Incredible Team Building Escape Room in Chicago Our rooms are designed for 3-6 people. In addition, the script’s stabs at social commentary and survival-of-the-fittest themes work well enough within the nightmarish mayhem. Thankfully, the film doesn’t overdo the snarky humor and forced hipness, much less the kind of clunky exposition we’ve come to expect from the genre. There’s also something inherently anti-climactic about leaving the gripping confines of the hermetical maze of game rooms and returning to the real world (or this fantasy film’s version of it) to tie things up. Although a method to all the madness is needed, the sequel-friendly rationale concocted here - and the evil “Games Master” (Yorick van Wageningen) at its core - gives way to a less inspired culmination and coda than the often clever, propulsive activity that precedes it. Unfortunately, the narrative gets increasingly muddled and far-fetched (though, in truth, not much more than in most gimmicky thrillers) as we discover what brought our ill-fated characters together and why. The film, handily directed by Adam Robitel (“Insidious: The Last Key”), contains its share of cliff-hanging, race-the-clock action bits that test the players’ wits, guts, integrity and loyalty as the story evokes elements of the “Saw” and “Final Destination” franchises as well as a high-tech version of Agatha Christie’s “Ten Little Indians” (minus four, that is) and the old board game-turned-comedy film, “Clue.” (Let’s start with the company’s insurance policies!) But that’s just one of several big questions that hang there until they’re answered - or not - later on. However, the rooms’ wildly self-destructive natures make you wonder why the hosting Maze Corporation goes to so much effort and expense only to seemingly have to start from scratch after each trial. These outrageous sets - benign one moment, terrifying the next - are definitely the picture’s calling card (Edward Thomas’ production design and the art direction by Mark Walker are highly impressive) and become their own memorable characters, especially given the ample time we spend in most of these spots. They will all bring their strengths, such as they are, to unlock the answers needed to flee a series of booby-trapped rooms, each elaborately constructed with their own thematic brand of life-and-death trickery: a generic reception area that turns into a massive oven, a freezing faux forest with a treacherous ice floor, an upside-down pool hall with a hellish elevator shaft (see “Mary Poppins Returns” for a more enjoyable topsy-turvy sequence), a spooky triage unit that holds more than a few plot-unraveling secrets, and a Victorian library that collapses in on itself - and its unfortunate visitor.
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