TORONTO – If we know anything about Riz Ahmed, it’s that he has taste. He rarely, if ever, stars in a project without a great script, intriguing concept, or notable director. That is, on paper. And, in that context, it’s not surprising he jumped for “Relay,” a mostly taut thriller from a Black List script written by newcomer Justin Piasecki and directed by David Mackenzie. But, again, it’s all theoretical until the camera rolls and the puzzle pieces of a story come together.
A world premiere at the 2024 Toronto International Film Festival, the concept of “Relay” is a genuinely intriguing one. Set in New York City, Tom (Ahmed, quietly charismatic as always), is an underground fixer for people who acts as a go-between for people who are looking to return stolen items to corrupt corporations. For instance, a former employee may have taken a secret report that describes dangerous pesticides that, if made public, could take down the business (or worse). In this scenario, the individual in possession of the materials decides going to the press or authorities isn’t worth it and needs assistance getting out of an often dangerous mess. After securing copies of the report or material, Tom will then broker a financial settlement with the company to return the original material and guarantee the potential whistleblower’s safety.
The first twist is that neither the client nor the corporation will ever meet Tom. They won’t hear his voice or communicate with him directly. Instead, Tom ingeniously uses the Tri-State Relay Service, a (fictional in name only) non-profit that allows the hearing impaired to communicate via texting or typing. Tom pretends he needs the service, and his clients talk to a relay operator who shares the message. The best part of the setup, and perhaps Piasecki‘s inspiration? There is no recording of the conversations and the operators are protected by federal law from having to share those interactions For Tom’s needs, it’s almost too good to be true.
Seemingly a loner, the only person we meet in Tom’s life who isn’t on either end of client negotiations is his AA sponsor, Wash (Eisa Davis, solid). A friend attempting to get the secretive Tom to come out of his shell as he moves through the long steps of recovery. Consequently, keeping a distance from his clients allows his addictions and any emotional connection to be tempered. That is until he hears Sarah’s voice.
Sarah (Lily James, solid) is in deep trouble. The company she stole files from has a high-tech private investigative team trailing her. Led by the unscrupulous Dawson (Sam Worthington, predictably one note), these upscale bounty hunters are willing to do whatever it takes to not only get their client’s document back but eliminate Sarah and her broker too. When Tom falls for the often mistake-plagued Sarah, it ends up placing both their lives in danger.
In many ways, “Relay” follows a current trend of revisiting the late ’90s and early ’00s genre of high-concept thrillers. And, despite the deserved acclaim he received for “Hell or High Water” this is somewhat uncharted territory for Mackenzie. For the most part, however, it appears Mackenzie and Ahmed are having a blast. There is genuine tension for a good portion of the flick and the relay aspect is super smart considering how much our lives are dictated by everyday phone messages. Mackenzie also does a stellar job incorporating everyday New York City streets and, of all things, the Metro-North Railroad into the proceedings. Along with editor Matt Mayer, he also orchestrates a fantastic set piece at a concert hall, a hand-off gone wrong that will have you wondering if Tom is finally in over his head. It’s a very fun ride until it surprisingly stumbles to the finish line.
Ultimately, the biggest disappointment with “Relay” isn’t the big twist, you see that coming a mile away. The issue is the execution of everything thereafter is almost comical. There is a set piece in an industrial enclave of Newark, New Jersey where Tom ends up being chased in a giant circle. Maybe if it was shot at night it would have seemed like more at stake, but when Tom comes back around the bend back to where he started from it’s hard not to laugh. But for old-school, twisty thrills? Everything beforehand might just be enough to satisfy a two-hour cinematic escape. [C+]
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