Metacritic reviews

A tense, nail-biting thriller featuring powerhouse performances.

Chloe’s determination and smarts make Run much more enjoyable to watch than the vast majority of specimens of the genre. She credibly thinks her way through problems. When things are dire, she ratchets up her courage — and Allen sells us on it all.

Deftly filmed and edited, Run is undoubtedly effective on the small screen, but few other films this year have built and held tension this expertly, so as to be immediately worthy of a room full of people reacting in unison.

Because the journey is so rapid and anxiety-inducing, however, it’s easy to forget that truncated timeline in order embrace the adrenaline rush of fear and uncertainty that suddenly places a cloud over everything.

Paulson underplays the Motivated Mom from Hell thing so well that when lines are crossed and the “game” is out in the open, we still don’t know what to expect from her.

It’s a familiar but enjoyably vindictive PG-13 thriller about mother/daughter trust issues. Plus a little psychopathology.

A psychological thriller with frustratingly little to say about the trenches of the human mind, Run nevertheless satisfies as a taut and titillating get-out movie that lands somewhere between HBO’s "Sharp Objects" and "Whatever Happened To Baby Jane?"

If the plot tends to outline its intentions in Sharpie — and veer into pure silliness by the final third — their presence pulls all that ridiculosity over the finish line: hardly a home run, but still a brittle, nasty bit of fun.

There’s enough go-for-broke and whiplash-inducing shifts in tone on display to suggest this filmmaking duo has a future, even when their characters don’t seem to have a past.

Run is stopped dead in its tracks by a howler of a screenplay that regularly calls for various characters to behave as stupidly as the dumbest victim in a splatter movie.