In this supernatural thriller by Austin-based director Shana Feste (Country Strong), single mother Cherie (Balinska) is a law student working as a secretary for a Los Angeles law firm. When her boss claims to have been double booked, he insists that she meet his longtime client, Ethan, (Asbaek) for dinner in his place. The meeting turns into a date, but the evening takes a sharp turn when Ethan suddenly attacks her, and a bid to survive the night ensues.
The terms of a woman’s existence in Run Sweetheart Run are not good, and its most consistent theme is the courage to care. Most women are unconcerned and divorced from other women’s safety, and all who do otherwise are swiftly eliminated. Men are in absolute power and often
prove dangerous, but an overbearing sense of brutal indifference proves to be the film’s true antagonistic force.
Despite a few shining moments, Run‘s script is only a fair swing at a metaphorical horror tale, and its slow, indulgent emphasis on feminine discomfort seems to surpass the importance of an evenly paced first act. Although it is perhaps a bit over-recycled, Run is well intentioned and at times clever, as well as stylistically interesting. With a predatory villain who both controls the minds of men and nurses an intense attraction to menstrual blood, it provides an interesting take on the vampire story as social commentary, but ultimately, despite its notable qualities, suffers from awkward tonal shifts due to genre blending that feels sudden and inconsistent throughout.
Borrowing tonally from the likes of Kill Bill, Jennifer’s Body and John Dies at the End, its message is strong, but, despite its merits, the journey for this hyped gaslighting nightmare is generally lagging.
Run, don’t walk, to read our interview with the director, Shana Feste Says Run Sweetheart Run, Oct. 28.
This article appears in November 4 • 2022.