“The Run” takes place in a dystopian world with a global fertility crisis, as an aging smuggler attempts to protect a runaway teenager and her baby from ruthless criminals.
Early on, Stephen de Villiers’ script is indecisive. Characters make several life-altering decisions, only to change their minds just moments later. While these sequences are impactful, that effect only remains for mere seconds because of the quick recantation. This leaves the first half of the film feeling like a series of weakly associated scenes before de Villiers fully dives into the individuals themselves.
As more details on Mac and Aliah are unveiled, new prevalent information continues to rise. While you would expect this to change the trajectory of the narrative, it doesn’t. “The Run” tends to skim past these moments in favor of set pieces and, surprisingly, silence. Not every new detail in the film is relevant, as many of the emotional aspects feel added-in rather than fundamental. It likely would’ve benefited from being closer to the 90-minute mark to alleviate some of the pacing issues.
De Villiers, who also serves as director, never fully cements what he wants to say throughout the journey. Despite there being no powerful message prior, the film does deliver hope in its ending. A similar genre entry, “The Assessment,” concluded with personal liberation in a rigged society. “The Run” offers a more positive outlook while maintaining the same starkness.
On the technical side, sound designer Justin Astbury’s work is integral. Throughout most of the 107-minute runtime, viewers will hear the echoing cries of a baby. It’s overwhelming at times; this is by design. Whether in slow-paced or action-packed moments, this noise becomes etched in your brain — adding to the tension in the process.
Taking place in 2036, production designer Das Patterson makes the world of “The Run” rough around the edges. The costumes and sets themselves aren’t extremely out of the ordinary, but it’s this rugged look that establishes the state of things. Director of photography Michael Tessari plays a key role in this as well. On top of the desaturated color grading, Tessari captures environments from every angle. Shifting focus from characters’ faces to the setting around them, there’s coverage from multiple points of view to provide a complete picture.
With all of this comes a deep sense of authenticity. When fires burn, it doesn’t have a digital look; you can see the smoke emanating and hear the crackles. As vehicles are driven, you can feel the bumps in the road through shaky camerawork. After long journeys, you can notice the exhaustion on characters’ faces. This leads directly into the performances.
Charlotte Maggi (Aliah) and Callan Mulvey (Mac) star. As a mother who is desperate to keep her baby safe, Maggi is in a constantly frantic state. Mulvey is the quiet co-lead who maintains a sense of calmness. Their timid personalities lead to a tranquil viewing experience that is heightened by those surrounding them. Also appearing are Taylor Wiese (Damien), Joe Romeo (Unit), Tim Phillipps (Smiley) and Felix Cameron (Tom).
“The Run” builds a world but never fleshes out the people within it. What could have been potent instead feels mild as the story doesn’t fully come to fruition.
Rating: 2.5 out of 5
