Jamie Kennedy's favorite movie review site
Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 

Overall Rating

Awesome: 0%
Worth A Look100%
Just Average: 0%
Pretty Crappy: 0%
Sucks: 0%

1 review, 0 user ratings

Latest Reviews

Luca by Peter Sobczynski

Hitman's Wife's Bodyguard, The by Peter Sobczynski

Demon Slayer the Movie: Mugen Train by Jay Seaver

In the Heights by Peter Sobczynski

Strawberry Mansion by Jay Seaver

Spirit Untamed by Peter Sobczynski

Amusement Park, The by Peter Sobczynski

Amusement Park, The by Rob Gonsalves

Army of the Dead by Rob Gonsalves

Cruella by alejandroariera

subscribe to this feed

Run (2020)
[AllPosters.com] Buy posters from this movie
by Jay Seaver

"Puts familiar thriller pieces into clever new places."
4 stars

SCREENED VIA THE 2020 NIGHTSTREAM FESTIVAL: A couple years ago, director Aneesh Chaganty and co-writer Sev Ohanian made what is probably the best of the recent group of movies presented entirely as what appears on various characters's screens in "Searching", and for their follow-up, they don't necessarily entirely go the opposite way, but one of the more suspenseful scenes in "Run" is built around its heroine trying to do some pre-internet-style search. It's a nifty bit in a film that's got a few of them, packed into a tight little package.

Diane Sherman's baby was born premature with arrhythmia, asthma, diabetes, and lower-body paralysis, with the implication it was because she was a mess 18 years ago. Now, though, Diane (Sarah Paulson) has really gotten herself together, remarkably self-sufficient in her small-town Washington State home, occasionally subbing at the high school, and telling her home-schooling support group that she's excited for her smart, super-competent daughter Chloe (Kiera Allen) to go off to college, so they can both really get started on a real life. That acceptance letter from the university seems awfully slow in coming, though, and Chloe briefly spots that her new medication has her mother's name on the bottle, rather than hers.

One way to approach this thriller would be to play coy, choosing one's shots and moments to highlight how normal things seem, and the filmmakers do some clever sleight-of-hand in that regard; because Chloe is in a wheelchair, Chaganty spends a fair amount of the opening act getting the audience up to speed on things that non-disabled people might be familiar with. While noting that set of accomodations, some may be inclined to lump other things in with it, feeding the engine that makes everything function: Certain things aren't "normal" but there's not really any way for the people involved to notice that when it has always been that way.

The filmmakers do that, but they also realize that they can only string it along for so long and that a bunch of reversals which will later get reversed themselves will just make Chloe look foolish when taken altogether even if they seem individually sensible. So they start to tip their hand fairly early, counting on the audience's instincts to carry some weight (and maybe suggest a familiar alternate explanation) even as they build a set of increasingly gnarly situations for Chloe. They might not be showstoppers in other movies, but in this one, they're extremely effective because of how precisely they are deployed: Chloe's attempts to get information that might be otherwise much easier to come by highlight just how strictly parents can sometimes control a kid's life, on the one hand, and on the other, there's a terrific sequence where she's got to MacGyver her way through a house that is far less handicapped-accessible than it was. It feels like a big action scene even if it doesn't particularly suffer from the film losing its big-screen release because it's 2020.

They're all great showcases for Kiera Allen, who is good enough in her feature debut that other filmmakers will hopefully be rewriting characters not originally conceived as disabled to accommodate casting her. She's quickly able to establish Chloe as everything Diane brags about her being at the top but also dive into how she can be abrasive in her desperation and righteously angry. Something that both she and Sarah Paulson tap into that doesn't always come across is that most people aren't really practiced at lying or other forms of deception, and even the big ones tend to rely on people not questioning them. Diane has been lying to herself as well Chloe, and Paulson seldom plays it as clever or convincing as opposed to increasingly desperate.

This lets Chaganty and company go hard with the homestretch, which has a few nifty individual bits but isn't quite up to what came before, one of those cases where switching locations highlights a character's ability to think on her feet at the expense of her being surrounded by things with meaning to her and the audience. There aren't a lot of other missteps here, though, and I'm very excited to see what this group has up their sleeve for their next movie.

link directly to this review at https://www.hollywoodbitchslap.com/review.php?movie=32994&reviewer=371
originally posted: 10/14/20 15:36:42
[printer] printer-friendly format  
OFFICIAL SELECTION: 2020 Nightstream Virtual Film Festival For more in the 2020 Nightstream Virtual Film Festival series, click here.

Note: Duplicate, 'planted,' or other obviously improper comments
will be deleted at our discretion. So don't bother posting 'em. Thanks!
Your Name:
Your Comments:
Your Location: (state/province/country)
Your Rating:

Discuss this movie in our forum

  20-Nov-2020 (PG-13)



Directed by
  Aneesh Chaganty

Written by
  Aneesh Chaganty
  Sev Ohanian

  Sarah Paulson
  Kiera Allen
  Pat Healy
  Sara Sohn

Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 
Privacy Policy | | HBS Inc. |   
All data and site design copyright 1997-2017, HBS Entertainment, Inc.
Search for
reviews features movie title writer/director/cast