‘Relay’ Review – Surveillance Thriller Is Just Shy Of Greatness

Look, it’s really simple. Endings are hard. Unfortunately, they are also supremely important. If you search cinema’s greatest endings, you will, of course, find a who’s who of Hollywood greatness. Psycho, Casablanca, and The Sixth Sense are just a few of the hundreds of movies you could pull when talking about a perfect finish. My personal choice would be Blow Out (Seriously, if you haven’t been spoiled, go watch that immediately), but I digress. On the other side of the coin, the list of bad endings is probably longer and, for those experiencing it, just as memorable. An eyeroll of a twist near the finale of a film can ruin a great deal of hard work. A bad opening can be recovered from, but a sub-standard finish leaves the audience with a bad taste in their mouths. Relay doesn’t rank with the worst twists in history, but it is closer to that than its opposite.

And this is really a shame, because everything leading up to a certain moment is teetering next to the next great thriller. Relay follows Ash (Riz Ahmed), who is essentially a go-between. When whistleblowers have second thoughts, they go through him to broker a deal for monetary stability and personal safety. At his introduction, we are not sure if Ash is to be trusted, but all of that brief mystery is setting the stage, showing us his quiet competence. Director David Mackenzie uses the urban sprawl of New York City to his advantage, forcing our eyes to track movements and see just what is important. He and cinematographer Giles Nuttgens build tension with a consistent look, tone, and propulsive pace, all while feeling completely in control. The noise of the city, paired with an energetic score from Tony Doogan, pushes us to the edge of our seats, willing to go along with anything. Well, almost anything. 

The plot introduces us quickly to Sarah Grant (Lily James), who has changed her mind about turning over documents from her company, Cybo Sementis Research. She is connected with Ash, who guides her through the process. A particularly ingenious choice in the script (from Justin Piasecki) is the use of the Tri-State Relay Service, a communications process used by the deaf and hearing impaired (and importantly, legally protected from law enforcement and other parties). In these conversations, James speaks and Ahmed types. It also helps that each message must end with the phrase “go ahead,” which is another way the film keeps the audience moving forward and waiting for the next interaction. Despite these limitations (he does not speak in the first quarter of the film, and sparingly after that), Ahmed carries the emotion of the piece. He is a kind of actor that we see very little of in modern cinema. He is able to remain stoic in expression but somehow provides emotion just beneath the surface. As the relationship between Ash and Sarah builds, it feels genuine even in the short bursts of communication. 

Relay is at its very best when showing Ash subtly moving through a dangerous world with perfect aplomb. Watching Ash be three steps ahead of the company toughs, led by a perfectly annoyed Sam Worthington, helps us feel in lock step with our hero, firmly fighting for the right side of justice. There is a comfort and a joy when watching someone who is an expert and completely self-assured. Ahmed’s ability to bring us alongside on his missions almost made me wish this were a television show with about seven seasons, with Ash helping someone new every week.

However, as the film advances, we both learn more about Ash and get closer to the actions. This is where everything goes off the rails. The moments in which we are shown his background and his struggles with alcohol are interesting, but feel effortful and almost unnecessary. His willingness to engage with Sarah after mild flirtation makes sense, but we yearn for him to keep his distance for his own safety. This both makes for an entertaining thriller and forces the film to take steps that make little logical sense. One can almost feel the writer’s struggle to find a clean way to make the action more physical and direct. Some of these sequences are effective, but the strain on credulity is simply too much to bear. As that one moment occurs, the audience should feel something, but sadly, annoyance is high on the list of emotions.

Yes, endings are hard. Sometimes a movie does not quite stick the landing. But that does not mean Relay is not worth watching or spending your time with. We would all be better off with more movies like this that narrow our focus and use its actors and settings in a way that forces us to the edge of our seats. The finale may leave you wanting, but Relay manages quite the rarity: a movie star performance that is neither showy nor broad. If there was any justice, Riz Ahmed would be one of our most bankable stars. Much has been made (and rightly so) of this film being a throwback to the 1970s. Ahmed teamed with Mackenzie is a pairing that I would watch a great deal more of, just hopefully with a more thought-out ending next time.

Relay is currently playing in theaters courtesy of Bleecker Street.