Nightstream Review: ‘Run’
An intense, thrilling Hitchcockian thriller anchored by inventive set pieces and powerful performances from Sarah Paulson and newcomer Kiera Allen.
‘Searching’, the first film from Aneesh Chaganty and Sev Ohanian, was a nifty microthriller that managed to provide constant twists and turns, keeping audiences guessing until the very end. But at its heart, ‘Searching’ was an ode to the powerful bond between child and parent, and the lengths parents will go to in order to protect their offspring. Their follow-up film, ‘Run’, starring Sarah Paulson and newcomer Kiera Allen, is cut from the opposite side of the same cloth. If ‘Searching’ was about how the love of a parent can save a child’s life, ‘Run’ is about how it can destroy it, suffocating and smothering it from within.
‘Run’ centers on teenager Chloe (Allen) who, due to complications resulting from a premature birth, suffers from several illnesses that have caused her to be paralyzed from the waist down. Chloe is bright and upbeat, constantly tinkering with hardware machinery and trading harmless jokes with her mother Diane (Paulson), who she seems to have a great relationship with. Chloe is excited for her future, anxiously awaiting an acceptance letter from the University of Washington – she frequently watches orientation videos (which feature a familiar face to ‘Searching’ fans) in order to pass the time. An accidental shocking discovery soon throws both their lives into a tailspin, threatening to destroy their once perfect relationship in the process.
Kiera Allen is phenomenal in what will surely be a star-making turn for the actress. It is astonishing that this is her first on-screen performance. She is an absolute natural, bringing a charming and airy presence to the film’s intense proceedings. Chloe is an immensely likeable character; her sweet-natured attitude and quick-witted actions will undoubtedly strike a chord with the audience. She is also extremely crafty and resourceful, a refreshing change from the typical horror protagonist. Chaganty and Ohanian have managed to craft an intelligent “final girl”, one that audiences will have no qualms rooting and cheering for.
Sarah Paulson is great as usual, elevating the material and digging deep in her character’s psyche to compensate for a slightly underwritten role. The character of Diane would have been schlocky in any other actress’ hands but in Paulson’s distinguished, more than adept ones, she’s a much more sympathetic character than she had any right to be, the years of unprocessed grief and trauma visible in her eyes (and hidden e-mails on computer screens) alone.
The twist in ‘Run’ is one you can see coming a mile away and Chaganty and Ohanian know that, tipping their hand midway through the film and letting viewers focus on the emotional impact it has on its characters instead of relying on shock factor to capture their audience’s attention. The real draw in ‘Run’, aside from the phenomenal performances, are the intense set pieces, each one bigger in scope and thrills than the last. Viewers will anxiously be on the edge of their seats, waiting to see how Chloe will get through her many ordeals with baited breath. The score by Torin Borrowdale also adds to the experience, with a combination of sharp strings and eerie chimes keeping viewers firmly on edge throughout the film’s short runtime.
‘Run’ is a step down from ‘Searching’, which was infinitely more groundbreaking and original. Chaganty and Ohanian took advantage of a largely untapped narrative format to deliver a refreshing experience that was just as heavy in heart as it was in creative flourishes. ‘Run’, meanwhile, is a cinematic remix of a myriad of films, most notably Alfred Hitchock’s ‘Rear Window’ and D. J. Caruso’s ‘Disturbia’. But it is still an intense, thrilling experience that will leave viewers glued to their screens in anxious anticipation of what Chaganty and Ohanian have up their sleeves next.
Rating: 4/5
‘Run’ screened at the NIGHTSTREAM Film Festival and will debut on Hulu on November 20.