By Thomas Puhr
Run (2020) works best when
director Aneesh Chaganty focuses on his heroine, Chloe (a revelatory Kiera
Allen), a disabled young woman who suspects something is not quite right with
mother. Consider a beautifully-composed set piece in which Chloe escapes her
locked bedroom, shimmies across the roof of her house, and reenters through
another window, only to end up breaking back into the same bedroom to
retrieve her inhaler. Chaganty’s ironic, Hitchcockian sense of space aside, Run
fails to escape one of the genre’s most infuriating tropes: nearly all of
its secondary characters (a pharmacist, a postal worker) are cartoonishly
stupid.
