Relay Review: Riz Ahmed Stars in a Dynamic Thriller

      Note: This review was initially published as part of our coverage for TIFF 2024. Relay is set to release in theaters on August 22.

      Whistleblowers are often highlighted—those who risk their safety by leaking documents to expose corporations prioritizing profit over human lives—but what about those who conclude the dangers are too high? They've secured the evidence, escaped the building, and now face mounting harassment with few options for help. They may receive an offer to settle the situation quietly, but can they trust someone willing to suppress evidence that indicates guilt in the loss of innocent lives? These individuals are scientists, not lawyers; they are ordinary workers, not security personnel. They require assistance.

      Enter Riz Ahmed’s character “Tom” in David Mackenzie’s Relay. He’s a man of many aliases. (Don’t look them up; they aren’t authentic.) A mysterious individual who silently observes. We encounter him at the conclusion of his latest assignment, safeguarding a prospective whistleblower named Hoffman (Matthew Maher). This moment demonstrates his diligence, providing protection to his client while guaranteeing their safety by arranging for the company’s CEO to conduct the exchange face-to-face. If there are no signs of retaliation afterward, everyone will part ways. If the company acts in a way that undermines the agreement, Tom will forward his backup copy to the authorities.

      He operates a fascinating little enterprise, utilizing government-subsidized methods to maintain his anonymity while interacting with clients and corporations. Incoming calls are routed through a messaging service, while outgoing calls are managed via a relay station designed to assist individuals with communication disabilities. When the need arises to send packages—whether cash or documents—various PO Boxes and rerouting options are available to obscure and evade probing eyes. So, when Sarah (Lily James) reaches out for help from a situation similar to Hoffman’s, the new game begins.

      Justin Piasecki’s script guides us through a job from inception to completion, highlighting the precautions taken and the gravity of the situation. Sarah approaches Tom out of necessity. Feeling unsafe, she recognizes the potential threat posed by those tracking her (led by Sam Worthington, Willa Fitzgerald, and Jared Abrahamson) and knows they cannot be trusted. Tom must assess these threats to gauge their capabilities, flush them out, identify them, and demonstrate just how adept he is at eluding them. They will attempt to ensnare him, and Sarah is not immune to anxiety, but Tom remains steadfast.

      Had Relay stayed aligned with Tom’s mechanical precision, it would still have sufficiently sustained our engagement in the thrilling elements of the chase. However, the filmmakers felt the narrative required a more human element. This led to a subplot where we delve into Tom's character through Alcoholics Anonymous meetings. Perhaps these encounters are a façade, but they might also be genuine. Regardless, they offer insights into who he may be beyond the meticulousness of his work. He might not be entirely infallible—his profession may involve more than the financial gains of silencing fearful employees of Big Pharma.

      Exploring personal connections adds another layer of drama as Tom starts to care for Sarah’s safety (especially with Hoffman lingering through daily check-ins that become increasingly somber). This relationship develops into something more than a potential romance; it serves as a narrative choice to introduce chaos. The more personal the circumstances become, the larger the chance for them to spiral dangerously out of control. Tom insists he will withdraw should a client breach his strict protocols, but he has also guaranteed protection. At some point, these two commitments conflict, forcing him to make a choice that could expose him to greater threats than those he is safeguarding.

      The ensuing suspense is highly effective, even if it largely consists of various relay operators articulating what Tom types while Sarah listens. The dynamic editing and the knowledge that a third party is at stake create a gripping uncertainty about who will blink first. Thus, the first half is particularly impactful, featuring Ahmed’s largely silent performance as he sets the stage for everything to unravel. An early airport scene showcases his ability to manage multiple tasks effectively, while Worthington and his team eagerly test their limits against him. Ultimately, flawless execution on both sides is meaningless if the woman at the center can be coerced into conceding.

      However, I wish the final act didn’t resort to typical action sequences that overshadow the more subdued, intellectual suspense. Mackenzie and Piasecki skillfully manage this transition with a noteworthy (if somewhat expected) twist, but it devolves into mere running and shooting without any real consequences apart from the frustration that could lead to a breakdown of mutual deterrence. They cannot kill Tom (or Sarah) without ensuring the documents are still released, and Tom cannot eliminate them without facing repercussions. Thus, the "conflict" centers on capture and escape, with all the clever subterfuge culminating in lackluster gunplay. It's regrettable, but thankfully, not entirely disastrous.

      Relay made its debut at