With Run, now available through Hulu thanks to COVID, we follow Chloe (newcomer Kiera Allen) as she yearns to leave home for college. She was born with multiple physical maladies and has been living at home in her wheelchair. Her mother, Diane (Sarah Paulson), tends to her needs but runs a tight ship, holding Chloe to a high academic standard. One day, while looking for college returns, Chloe finds a prescription for her mother that she denies is hers. This causes Chloe to investigate the myriad of medications she’s on and her mother’s cagey behavior. She comes to one conclusion: she is being held prisoner by her own mother.
I don’t consider it a spoiler to confirm that Run is exactly the movie it assures you from its start. Because the movie was so early and upfront about its distrust with the mother, part of me began to wonder, after watching so many Hollywood thrillers over the years, if I was being set up into false complacency. I began theorizing what a late twist could be, how we’re being lulled into one perspective so maybe the final twist would be that the big bad mom is actually the hero. This is not the case at all. There are later revelations that clarify just how disturbed and committed Diane is as a doting mother, but the core relationship dynamic is the same from the get-go. That means that Run might not have much going for it other than as an escape thriller. It’s not going to give you deeper insights into life with mental illness or physical disabilities, nor is it going to channel some relatable struggles with motherhood. It’s about a crazy woman holding a teenager captive and the great obstacles that teenager must overcome to reach freedom and safety. That’s all the movie has to offer but under the guidance of its filmmakers it does so with finesse.
Let Run serve as a prime example of how you can take a simple story and create a lean, mean thriller that provides doses of satisfaction and triumph. The focus is so condensed that writer/director Aneesh Chaganty (Searching) can provide set piece after set piece to demonstrate his skills in suspense. The first act involves Chloe learning of her alarming state and getting confirmation that her medicine and ailments might not be true. From there, the next two acts are a series of planning escapes and escalating attempts at escape. There is a lovely sense of fulfillment in watching smart characters intelligently think their way through challenges. I recently re-watched 2015’s The Martian and was reminded how enjoyable it can be to just watch smart people smartly confront problems. Chloe is a formidable young woman with obvious vulnerabilities to overcome, but she has a sharp mind for science and can act like a plucky Zoomer MacGyver. It’s resolutely fun to watch her overcome her challenges. Each new set piece and setback presents a challenge and her thinking is logical and capable throughout. Even when the plot isn’t much more than a series of escape attempts, every time I wondered to myself how exactly Chloe was going to get through the next dilemma and admiring her as she persevered.
The photography, editing, and score work nicely in tandem to raise the level of suspense. The command that Chaganty has over all facets of filmmaking to serve a common purpose is impressive. It’s the same kind of assured vision he displayed with 2018’s Searching where the film screen was confined to the parameters of a computer monitor. As with that earlier inventive thriller, Chaganty has an innate understanding of how to make his moments matter, where every twist and turn has a connection to what came before it so it all feels of a whole. That is essential especially for a filmmaker working within a thriller genre. If you can tell even the simple stories well, where the pieces connect with perfect precision, and ratchet up tension efficiently no matter the scenario, then you’re already operating at an extremely high level. Given his first two entries, I would watch any movie, especially a thriller, that has Chaganty’s name attached.
This is primarily a mother-daughter two-hander in terms of acting, though Paulson is off-screen for long portions. After several Ryan Murphy TV series, including Netflix’s Ratched, I’ve come to automatically assume I should be wary of whatever character Paulson is playing. This role is well within her unstable wheelhouse and she gets to better shine in her increased desperation in the second half when Diane no longer has to pretend to be sane. Her doting manipulation and intense mood changes can be quite creepy. The real star is Allen in a very physical performance. There is much the young actress has to communicate non-verbally, from her distress and paranoia to her doubts and fears and righteous anger. Plus all the crawling. She’s great, and I fully imagine this will be the start of Allen’s promising career as she finds even more high-profile roles to demonstrate her talent.
If you’re a fan of slick, intelligent, and sneaky fun thrillers, and why wouldn’t you, then seek out Run (not to be confused with the TV series of the same name on HBO in 2020). It’s well honed, well developed, and smartly constructed to deliver enjoyable thrills and payoffs for viewers. It might not have more on its mind than entertainment but that’s fine when the movie is this well done.
Nate’s Grade: B+