Run

Warning! There will a little spoiling on film’s plot.

Since the migrant crisis began accurately ten years ago, there has been no reflection of it in art. If you can find films addressing this, you will detect only comedies and they treat this topic innocent. No movie that does viewing on this acute and actual issue serious. A strong reason for this calmness is that today’s climate decries people who speak negatively about illegals. Such flick became possible only from a man who makes cinema with his own money. And that’s the German director Uwe Boll, who is known that he doesn’t mince with all kind words.

Run is different stories of people who have variable views and how migrant crisis influences their lives, mostly taking place in one day in some little town in Southern Italy. It’s attracting to follow for all lines, get contrasting visions, and be surprised by the twists. I love the monologue of Italian policeman at the end, which is a powerful moment from a man who expected one, but faced another. The director strives to maintain authenticity, as there were mistakes of non-natives a couple of times, and aforementioned Italian servant of the law can’t describe a happened.

The finale brings to familiar hallmark of Uwe Boll movies: a mass killing of unarmed people, which he does since Amoklauf and continued in Rampage trilogy, Assault on Wall Street and Hanau. Does he repeat himself? No, because it’s an individual story where a different circumstance led to that massacre.

No critical word regarding any of the performances because Run has a monumental cast. I haven’t watched Barkhad Abdi anywhere else, but this man is a born actor, because he is of these rare gifts who didn’t visit drama school. However, I would like to know how his character got American twenty grand? I have a reasonable variant in house selling, but migrants don’t pay such large money for the European dream. A Syrian gives 6000 dollars maximum for leaving his warring state. A usual price for a migrant was 1800 euros in 2018. Nevertheless, I’m not bothered about that. Amanda Plummer is appealing in her playing and that is in personality of her character, even though I disagree with a basic vision of her heroine. Costas Mandylor is a top-notch actor whose role was some Italian criminal boss; just only, he doesn’t make much effort to not use his American English, and his bringing of Italian accent is closer to Russian in his speaking in English and Italian. I can live with that. As well as with that the director and the editor weren’t careful, committing blatant continuity errors–you see a woman with glasses and without them in one scene many times, or when a knife has already cut a throat in a first shot but it placed at a neck in the next. Boll’s personal mistake is that a Croatian flag hangs on a building which is a police station in the flick. Filming was in the just named country, which can accept for Italy somehow (but I wouldn’t choose this state for imitation) until you notice that the streets are too clean and a casino isn’t authentic. However, I’m not slamming here; just Croatia isn’t a perfect choice for portraying Italy despite its Roman Empire past.

Directing, cinematography and score are parts of film’s wonderful narrating. I loved that it was made as did before: no modern exaggerated twist gimmicks, no fast pacing and an image is natural.

I had a rapture from watching, and I would do it again, even despite Run speaks on things that are obvious.