I’m going to do something I rarely if ever do, and that’s requesting a bit of homework before you delve further into this specific review. If you haven’t, please read my review for writer/director Uwe Boll’s 2026 grisly thriller Citizen Vigilante first. I’ll even provide the link. It doesn’t even have to be my review, though it would be appreciated of course. Familiarize yourself with this surprise xenophobic hit of a movie and then come back here to read about Boll’s 2025 effort, the generically-titled Run. It’s fair to gather an unfavorable opinion of Boll’s views on immigrants from Citizen Vigilante, which posits that thousands upon thousands of Europeans are being killed by merciless immigrants who refuse to assimilate with their poisonous cultures and attitudes, the kind of movie where a guy just slices a mother’s throat in the opening seconds while walking because why not? It’s a vile, disgusting movie that panders to the worst elements of the worst people, glorifying a racist vigilante that massacres an entire family for the sins of their teenage son. But I don’t need to remind you because, of course, you read that review. The discourse turned into an examination on Boll himself, appropriate since he was the writer and director and even dedicated the movie to the “countless victims of immigrant violence.” The most obvious interpretation was that Boll was beholden to this rotten anti-immigrant ideology. Perhaps he is. However, after having reviewed 29, now 30, of this man’s movies and written extensively about them and him, I had some doubts. It turns out Run is exactly why, as it stands as a stark refutation of the worst of Citizen Vigilante.

Forgive me, but I’ll be comparing Run and Citizen Vigilante throughout this review because I feel they are insightful mirrors for one another and demanding the comparative treatment. So, once again, if you haven’t yet, please read a Citizen Vigilante review so you’re caught up, dear reader. Thank you kindly.

Run opens in a harrowing if familiar situation ripped from years of human interest headlines. We open on a boat heading out to sea. It’s filled with migrants from all countries looking to escape their home countries to avoid political persecution, imminent violence, or simply to start anew in a better place. They’re desperate people. They’re scared. They’re being exploited by the men in charge of the boat, whom we’ll learn later are charging up to $20,000 a person for their clandestine services. These men are also brutal when questioned and stab several of the people on the boat and throw them overboard. It’s grim and upsetting and this is Boll’s introduction for the audience to the plight of the immigrants. It already begs further questions of what they’re escaping if they’re willing to endure this terrifying trip.

The boat eventually does arrive onto the Italian coast (though really scenic Croatia) and from there the movie is split among an ensemble of storylines: 1) Anna (Amanda Plummer) is an ex-pat American who stumbles upon a pregnant immigrant, Selena (Hannah Balogun), hiding in the bushes after fleeing from the local police, and offers her refuge; 2) Ismael (Oscar-nominee Barkhad Abdi) is a Somali immigrant who has given everything to seeking political asylum and a new life; 3) Eddie (James Russo) and his daughter Julia (Kristen Retton) are American ex-pats and have run a business in town that has been going downhill and they’re running low on options to salvage their impending financial ruin; 4) a local police officer, Cappi (Daniel Sauli), struggling to do his best, watches over his aging mother who lives with him, and keeps up with the influx of immigrants in town; and 5) the pair responsible for the boat ferrying (Sammy Sheik, Michel Qissi) who are looking to get in good with a local mobster (Costas Mandylor).

From its opening scene amidst the boat, I found myself leaning a little closer to the screen, eager to see if this more empathetic approach would be met with sincerity throughout. It was! Run is a consistently compassionate examination about the modern-day immigrant experience, especially upon trying to work through the often byzantine system of bureaucracy to be counted and approved for asylum or migration status. It’s an open-hearted look that refuses to view these people as “invaders” or “vermin,” and instead looks at them as the desperate and vulnerable human beings they are. I thought that Run might follow a similar plot trajectory of 2007’s The Visitor, where our lonely, older, white American befriends an illegal immigrant, grows as a person, then has that person ripped away from the cruel indifference of the immigration and asylum system, only to learn a larger lesson through their personal experience. Run kind of follows that path but not as closely as I would have predicted. Selena gets taken by Officer Cappi around the 40-minute mark, not really enough time to fully develop the unexpected relationship between her and Anna. From there, the rest of her storyline is Anna trying to negotiate for the release of Selena by scrounging up thousands of dollars to bribe the local officials into letting her loose. There’s an engaging urgency and desperation there that can mirror what some of the immigrants experience as forces with more entrenched power, and the ability to abuse that power, are placed in opposition to freedom.

The American family is the mouthpiece for our more xenophobic perspective, but over the course of the movie Boll always showcases them as being in the wrong, as the angry assholes who have lost sight that even they were immigrants too. The cranky father figure, Eddie, says he served thirty years in the military and knows firsthand how “these people” behave. Anna calls him out, saying he should then acknowledge the potential culpability the U.S. government/military and other larger bodies could have in supplanting civil order/local autonomy for profit. The second half of the movie completely dumps all over Eddie’s worldview and refutes so much of Citizen Vigilante, down to its racist core premise, that I almost wanted to stand up and applaud. Spoilers ahead, but it’s worth it, trust me. At one point, a man hiding along the shore is discovered and in his panic he grabs a teen boy and holds him hostage, placing a machete under his chin. He just keeps screaming “I want free” in English and he looks completely spooked. He is also dangerous, as he slashes a guy in the face for getting too close. Sitting out to sea is the American family, and Julia gets an idea. She takes her speargun and swims out to the shore, coming up from behind the machete-wielding hostage scenario. She takes it upon herself to intervene and fires the speargun, which goes right through the immigrant’s chest, killing him. However, it also injures the boy being held hostage… and the boy dies. Julia is shaken up from the results, never intending to kill the boy, and yet her vigilante act caused an innocent boy to get killed. Then she’s taken by the police, ostensibly for a witness statement, but she’s arraigned instead for manslaughter. Beforehand, she’s been viewed as the more level-headed of her family, the one trying to assess their problems and deal with them. Boll sets her up as, for lack of a better term, “the good one” of her family, and then she does this, and not only that, she’s offended that she would even be charged with a crime. Her blithe entitlement and dismissal of her actions and responsibility is truly telling. Boll is indicting her sense of privilege at being able to float above consequences because she was white and well-intentioned even when it came to vigilantism. She tried her hand at being a vigilante and made the matter worse. Check that, Citizen Vigilante.

It gets even more explicit in the tragic finale (still spoilers, but it’s worth it). Eddie’s response to his daughter being arraigned for manslaughter is further evidence of his reactionary projections to scapegoat immigrants for all the ills of the world. Rather than legally disputing her arraignment or finding money for bail, he and his compadre fashion a stockpile of Molotov cocktails and ammo. They drive to the immigration/refugee shelter, and they mercilessly unload, killing innocent human beings for the crime of being on the other side of a fence. They murder dozens, and this murder isn’t covered in glory or tacit approval from Boll, it’s treated as an act of terror and doom. They even kill the local cops who are trying to put an end to their massacre, which shows how far their allegiance to law and order actually goes. I was reminded of Citizen Vigilante where the protagonist (Armie Hammer) also mows down room after room of police officers doing their job, bringing a killer to justice, though he at least says, “I know you’re just doing your jobs but please let me murder others with impunity.” It’s fascinating to me that the presented hero of one movie could just as easily be the presented villain of another movie without a change in their ideology. The fact that these movies are released a year apart from one another is stunning.

Lest you think I’m going to give Boll a pass because his film falls closer to a political ideology that matches my own way of thinking, there are still myriad issues plaguing Run. The storylines can feel arbitrary with how abrupt we jump from one to another and they don’t interconnect as much as they could, allowing for a wider berth of perspective shifting. The attention paid on the pair who steered the boat and them getting into the mob is completely underwritten to the point that they could have been eliminated. Some of the character choices can equally be arbitrary, like when Anna ushered Selena out of her home mere minutes before her brother is going to arrive and pick her up. Why not wait for confirmation before leaving the sanctity of the indoors? The local officer is initially presented as a down-to-Earth figure but then takes a villainous turn, being the one holding Selena hostage and insisting on the thousands of dollars as ransom. If he’s going to take this dramatic heel turn, we should spend more time with him dwelling on his actions, trying to justify them to himself, or even simmering in guilt and fear over how far he may have gone and can he salvage his integrity. The political commentary isn’t subtle in the least, though this does not bother me as we live in extremely unsubtle times. Still, having characters utter dialogue that’s clearly underlining the messages can be a bit much, like when a local official ruefully shakes her head and says, “I’m sorry. You did everything right but you’re going back home.” I also think it ends about three minutes later than it should. There’s a rather perfect ending moment that echoes the beginning of the movie and shows genuine character changes. Boll continues past that for questionable reasons, perhaps trying to establish the point that even if these immigrants find employment, they’ll still be looking over their shoulders in paranoia for potentially ever. Even so, the very ending scene is confounding.

I wouldn’t quite qualify Run as a good movie, or at last a traditionally good movie, but it’s actually okay, especially given the filmography of its writer/director. It serves as a possible eye-opener for audiences about the troubled experience many immigrants face in their desperate dash for a better life, and while giving voice to a plurality of political viewpoints and frustrations, Boll’s movie is always siding with the side of the poor, huddled masses yearning to breathe free. In a minor way, he has done justice to their stories. Now, that brings up a salient question regarding Citizen Vigilante. I concluded my review of that film theorizing that perhaps the movie was indeed a grift of Boll’s, serving up wish-fulfillment agitprop to despicable people who see the world through its hateful lens. I think Run is perhaps compelling evidence that my theory might be right. Here’s the rub: whether you’re genuinely racist or merely pretending to be, when you make racist propaganda, it still exists. You’ve still created harmful art that comforts the horrid beliefs of racists, and you don’t get a pass for that because you don’t actively believe in that ideology. You have still contributed to it. Boll doesn’t get a pass merely because I doubt he favors the xenophobic dogma of his vigilante murderer. He didn’t have to make it in the first place, or he could have made it a more explicit critique of the right-wing zealot who demonizes immigrants for any crime real or imagined. He could have done a lot more movies like Run. So, congrats Uwe, on making a fairly cogent and resonant political drama about immigrants. It’s a shame that your other movie about immigrants will overshadow this one completely. Enjoy that money.

Nate’s Grade: C+