Kevin Macdonald’s The Runner confuses nonstop movement with genuine tension. The film follows Maia Marten (Gal Gadot), a lawyer and single mother to her diabetic son Noah (Rory Wilmot). On her morning run, Maia is interrupted by a phone call informing her that Noah has been abducted. The kidnapper (Damian Lewis) sends Maia on a frantic dash across London, promising Noah’s release only if she obeys his every command. What follows demands a heavy suspension of disbelief, while wooden performances and hectic filmmaking turn The Runner into a lifeless slog.

The film’s first hurdle is its contrived plot. The kidnapper has hacked Noah’s insulin pump, turning his condition into a countdown. Maia is ordered to murder one of her own clients in a race against the clock. Each command hissed through her headset is intended to raise the pressure, but the mounting threats never feel organic. Obstacles placed before Maia are clichéd, including a scene in which she’s taunted with explicit images stolen from her computer. It reveals nothing worthwhile about her and highlights the film’s crude attempts at unease.

Gadot and Lewis do little to conceal this. Although Gadot’s physical commitment is admirable, she struggles to convey the emotional stakes. When Maia first learns of Noah’s disappearance, her stilted delivery lessens the scene’s much-needed weight. Lewis is similarly unconvincing. Extreme close-ups of his mouth attempt to make him appear sinister, but the script’s bland dialogue reduces him to a generic villain. Their exchanges lack urgency, making The Runner’s immediacy feel as artificial as its premise.

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The familiarity here is undeniable, too. Like Taken, the film revolves around a desperate parent pursuing their abducted child, while the torment of an anonymous caller brings Phone Booth to mind. In Speed, survival also depends on perpetual motion. Being inspired is hardly fatal, but Macdonald never reshapes these influences into something fresh. Mark Gibson’s script instead recycles their mechanics into dull, repetitive sequences. The Runner closely resembles its predecessors but cannot match their ingenuity.

Initially, Macdonald’s restless camerawork feels as hectic as the story. Rapid cuts and invasive close-ups track Maia as she rushes through London, reflecting her panic. At first, this gives the film energy, but it quickly wanes as Macdonald grows dependent on the lens. Eventually, scenes become indistinguishable, even as they take place in different parts of the city. The film is only 84 minutes, but it wears out its only strength long before Maia can catch her breath.

A brief runtime and straightforward premise should lead to a punchy, compelling thriller. But as The Runner piles on the complications, it becomes increasingly hard to accept. Stiff performances and tedious camerawork drain any residual urgency from an already absurd plot. Gadot may race through each scene, but Macdonald’s latest effort is ultimately on the road to nowhere.

★

On Prime Video now / Gal Gadot, Damien Lewis / Dir: Kevin Macdonald / Prime Video

About the Author

Ibrahim Azam

Editor

Ibrahim is a film journalist, writer and lecturer of media studies. He has written for The People's Magazine, BFI, The Face and more. His four favourite films are: The Lord of the Rings, Seven Samurai, 12 Angry Men and The Passion of Joan of Arc.

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