In a cinematic landscape where suspension of disbelief is often the price of admission, the 2020 thriller “Run” demands not just suspension but outright catapulting of disbelief into the stratosphere. Directed by Aneesh Chaganty, this film attempts to weave a tale of suspense and maternal manipulation but ends up serving a hodgepodge of plot holes so large, you could pilot the Starship Enterprise through them.
First off, let’s address the elephant in the room – or rather, the completely ignored elephant stampede. Our protagonist, Chloe, portrayed with commendable effort by Kiera Allen, somehow manages to overlook the glaringly obvious fact that her mother, played by Sarah Paulson with the subtlety of a neon sign in a monastery, is up to no good. The villainy is so over-played I half expected Sarah to be stood in a corner at one point, twirling a mustache between her fingers. The audience is expected to believe that Chloe, despite being a tech-savvy teenager, never once Googles her own medical condition until the plot decides it’s convenient for her to do so.
Then there’s the matter of the mysteriously replenishing stock of dangerous drugs and medical equipment in their house. The mother, Diane, seems to have an Amazon Prime account with unlimited next-day delivery to the middle of Nowheresville, USA, for all her illicit pharmaceutical needs. It’s as if the filmmakers expect us to believe that every suburban home comes equipped with a fully stocked pharmacy hidden behind the kitchen cabinets, just between the cereal boxes and the canned soup.
One of the drugs, which is solely to blame for Chloe’s legs, was prescribed under the pretense that Diane has a dog which is in pain… but we’re also led to believe that Chloe has been taking these drugs for years. So nobody questions where Diane’s dog is? Has there even been a dog? Nobody mentions never seeing Diane with a dog? How long has this dog supposedly been in pain for? Is it the same dog over all these years?
At one point, the film shows Diane in the shower with a scarred back – this also never gets explained (eventually I found that there’s a deleted scene which gives a very throwaway explanation about it – she’s also a child of abuse).
While I’m at it, what happens to the postman? We know Diane knocks him out but is he alive or dead? We see Diane dragging a bloodied body away but did she actually finish him off or not?
Oh, and why did Chloe go through the whole process of taking a soldering kit to ultimately break a window? It’s like the film just needed an excuse to remind us that Chloe is, in fact, a rather clever girl… So clever she doesn’t think to just use the handle of the soldering kit to break a window instead of a stupid science experiment.
Moreover, the world around Chloe and Diane seems eerily devoid of curiosity or concern from others. This lack of outside interaction or intervention is perhaps one of the film’s most glaring omissions. In an era where community and connectivity are more pronounced than ever, the film’s insular setting feels less like a deliberate choice and more like a narrative oversight, making the story’s progression feel not just improbable but impossible.
“Run” takes the concept of a helicopter parent to new, absurd heights, with Diane’s overprotectiveness bordering on supervillainy. The film tries to keep you on the edge of your seat but instead leaves you falling off it, laughing at the ludicrous lengths to which it goes to manufacture tension. By the time the climax rolls around, with its attempt at a heart-pounding resolution, the only thing racing will be your thoughts on how such a hilariously hole-ridden plot made it past the drawing board.
This is a masterclass in how not to construct a thriller, with plot holes you could drive a fleet of plot trucks through. It’s a rollercoaster ride that derails before it even leaves the station, providing a comedy of errors that’s unintentionally funnier than most deliberate attempts at humor. One can only hope that future filmmakers will run – not walk – in the opposite direction when drawing inspiration from this cinematic curiosity.