Ahmed best reason to see predictable corporate thriller
In a brief scene in the new film Relay, its star, Riz Ahmed, gets a chance to use the sign language skills he picked up in his 2020 Oscar-nominated performance in Sound of Metal. That’s a cool throwback for Ahmed fans, and, given his exceptional talent (see also Encounter, Nightcrawler, and HBO’s series The Night Of), he no doubt has many. But his fans may be disappointed in Relay, a serviceable corporate espionage thriller in which Ahmed’s performance is the only bright spot.
Director David Mackenzie, whose Hell or High Water was one of the best films of 2016, directs the picture from a script by first-time feature screenwriter Justin Piasecki. That the screenplay is Piasecki’s first is fairly obvious, as astute viewers will guess the film’s twist after just a few scenes. Mackenzie and Piasecki appear to be going for a Michael Clayton-esque drama of shadowy executives and high-level business malfeasance, but the clues to the story’s big reveal are painted too clearly to make it much of a surprise.
The story concerns Ash (Ahmed), a fixer who brokers deals between companies and whistleblowers who decide to rescind their exposure of wrongdoing, whether because of money, intimidation, fear, or all three. A scientist named Sarah (Lily James) hires Ash to help her return incriminating documents to her agricultural firm employer, caving in to pressure that includes being surveilled round the clock. As Ash tries to facilitate a deal for Sarah and outwit the team surveilling her, the inherently risky situation becomes even more complicated, when, despite his strict professional code, Ash becomes personally invested in Sarah.
To their credit, Mackenzie and Piasecki give us one heart-pounding action set piece that fully engages us. A package drop off and pick up in crowded Times Square goes awry, and the tension ratchets way up. But aside from that, the picture is filled with plot elements that don’t make sense, including why Sarah wouldn’t just return the materials directly, without the help of an underground intermediary. The entire premise of the film requires a huge suspension of disbelief. Character traits, too, seem quickly sketched for the sake of plot convenience. Ash is a lonely alcoholic, and wouldn’t you know: he becomes friends with a cop in his AA group. If you think that budding friendship might come in handy later in the film, congratulations: you’re one of those astute viewers I mentioned earlier.
While the picture’s story is unsatisfying, Ahmed’s performance is not. He’s one of the best actors working today, and even middling material like this wanna-be clever drama is elevated by his attuned, thoughtful presence. James is fine, but nothing special, though whether that’s the fault of her uninspired acting or the uninspired script is hard to say. Sam Worthington, as one of the crew keeping an eye on Sarah, plays hot-headed rage well, and is fun to watch. Too bad the same can’t be said for more than just about a quarter of the film.
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Relay is now playing in theaters.
