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- A gripping new thriller from the director of Searching.
- 12 of the Most Outrageous Twists in Movie History
- Verdict
By Siddhant Adlakha
Posted: Nov 16, 2020 6:00 pm
Run debuts on Hulu on November 20th.
Run feels like one hell of a flex if you’ve seen its creative duo’s previous effort, Searching. The 2018 screen-life film saw director Aneesh Chaganty and co-writer Sev Ohanian effortlessly turn a computer screen into a window to a world of dramatic mystery; in contrast, their latest thriller is set in a spacious house surrounded by open roads. The setting feels ordinary at first, but before long, its grip begins to tighten to the point of claustrophobia, an aesthetic approach that matches the mother-daughter dynamic at its core. As hinted in the film’s trailer, there’s something amiss about their relationship — something Chloe slowly but surely discovers as she takes notice of pieces of her life that don’t quite add up.
The film stars Sarah Paulson as Diane Sherman, a caring but overbearing mother to a wheelchair-using teen, Chloe (Kiera Allen). After a brief prologue that sucks the air out of the room and hints at the difficulty of Chloe’s birth, the film’s opening title cards list a litany of medical ailments and their various symptoms, setting the stage for a film where chronic illness is a central fixture. Fast-forward about a decade and a half, and we’re re-introduced to Diane during a support group meeting for parents whose lives are dedicated to (and defined by) taking care of kids who need almost ’round-the-clock care. We don’t see too many of the parents’ faces, though; instead, Chaganty draws us into this space through objects and details, like a tissue box being passed around the room and the sounds of tears and sniffles, as shivering hands grab two, sometimes three tissues at once.
When the box of tissues reaches Diane — the first face we see in the present — she doesn’t want one. In fact, it doesn’t seem like she needs one. The story she tells the group, and herself, is one of strength, resilience, and above all, normalcy, as her daughter prepares for college. But there’s a tinge of resentment in her voice as well.
It isn’t hard to figure out what’s happening from a big-picture standpoint — after all, the film casts immediate doubt on Diane even before we’ve met Chloe — but to call Run merely a Munchausen-by-proxy film does a clear disservice to thrilling work done by everyone involved. It’s as much a psychological drama as it is a taut escape thriller, in which each scene begins to feel like a heist. For instance, when Chloe’s internet mysteriously goes down just as she’s Googling one of her medications, she has to figure out a way to get the information she needs using nothing but a landline, while also avoiding her mother’s watchful eye. It’s another one of the many ways the film feels like an intentional swing in the opposite direction from Searching; Chloe’s access to technology is limited, and rather than a story where a parent and child start out at odds and find their way back to one another, it’s… well, that would be spoiling its many twists and turns, each of which is rooted in character, and are delights to discover.
Sarah Paulson is tremendous in a role that requires balancing grounded drama with B-movie pulp, as she walks a fine line between warmth and monstrousness. Once we begin seeing her through Chloe’s eyes, it’s impossible to nail down a singular feeling or perspective; do we love Diane? Do we fear her? Do we empathize with all that she’s sacrificed and the fact that she may have been caught in a web of lies? The film offers no clear roadmap, which is a testament to Paulson’s prowess as a performer used to juggling different genres, often within the same story.
Of course, this vagueness surrounding Diane, for the most part, would’ve felt dramatically confusing, were it not for Kiera Allen, who grounds the film’s thrills in a performance that demands both emotional nuance and intense physical dedication. When the constraints around Chloe are tightened, her home becomes something of an obstacle course, which she navigates both through her knowledge of scientific tidbits and her sheer desperation.
There is, of course, a looming sense that the film might be on the verge of some grand, unifying statement about illness or disability — the kind of Hollywood inspiration-porn that skirts around lived realities — though this might simply be a case of expectations, based on what we’re used to seeing time and time again. However, instead of going the route of some rote prestige drama once it lays its cards on the table, Run actually leans even further into its genre thrills, offering both a final act and eventual conclusion that end up ludicrously fun. It isn’t until the credits roll that you realize just how much Torin Borrowdale’s pulsating score has helped the entire thing fly by (it evokes Bernard Herrmann as much as Chaganty evokes Hitchcock; which is to say, just enough to be fun without feeling like a poor impersonation)
Deftly filmed and edited, Run is undoubtedly effective on the small screen, but few other films this year have built and held tension this expertly, so as to be immediately worthy of a room full of people reacting in unison.
- Siddhant Adlakha
Oct 31, 2021 · But he still does a lot of the same smart things in the game.” A few years ago, the Oilers were still in the doldrum days, and Nugent-Hopkins was lining up on the left wing with McDavid and Ty ...
Apr 12, 1993 · Complete career stats for the Edmonton Oilers Center Ryan Nugent-Hopkins on ESPN. Includes goals, assists and points per NHL season.
Apr 12, 1993 · News: 4 days ago Nugent-Hopkins logged an assist and three shots on goal in Thursday's 3-2 double-overtime win over the Stars in Game 1. Spin: Nugent-Hopkins' forechecking led to the Oilers' goal ...
