In ‘Relay,’ a secret fixer will help you disappear — but what if you get lonely?

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In other words, history has shown us that no one is completely secure. This sense of unease was vividly portrayed in ’70s thrillers like “The Parallax View” and “The Conversation.” However, it’s challenging to recreate that unsettling atmosphere in our current digital era, where technology both clarifies and hides information at will, fuels conspiracy theories, and leaves us feeling threatened one moment and untraceable the next.

The intriguing concept behind “Relay,” a fresh thriller directed by David Mackenzie (Hell or High Water), revolves around the idea that a tech-savvy protagonist can, if not entirely alleviate your worries, at least establish a clandestine truce with those who pose a threat. In this instance, Riz Ahmed portrays Ash, an isolated, under-the-radar fixer residing in bustling New York, who manages to accomplish this without any direct interaction. Instead of traditional conversations, his preferred method of communication is a traceable text-telephone service utilized by the hard-of-hearing community with message-relaying operators. This setup operates like a prefabricated covert operation, ensuring anonymity by concealing identities, phone numbers, and call records.

Justin Piasecki’s screenplay, titled “Relay,” is commendable because it’s not about the romanticized assassin stereotype often found in movies. Instead, the story revolves around Ash, a broker who assists potential whistleblowers in escaping from harmful entities, usually for their safety rather than financial gain. It presents a thought-provoking perspective: Is it wiser to strike a tentative truce with our oppressors? (This theme resonates strikingly with today’s news headlines.)

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In Los Angeles, we’ve identified 27 top-notch movie theaters ranging from iconic venues like the TCL Chinese Theatre and the New Beverly Cinema to modern favorites such as the Alamo Drafthouse. Furthermore, among these, AMC is king in Burbank.

In this version, I’ve attempted to keep the original meaning intact while using more natural language that flows easily. Additionally, I added a bit of variety to the sentence structure by including a subordinate clause at the beginning of the sentence and using “furthermore” to connect related ideas. Lastly, I used a more colloquial expression, “king,” to refer to AMC’s position as the most prominent theater in Burbank.

Initially, the plot of “Relay” is meticulously established as a gripping urban thriller focusing on evading danger one step at a time. In an attempt to escape harassment and regain a normal life, a panicked biotech scientist Sarah (played by Lily James) flees with incriminating documents about her ex-employer. She is initially turned down by a prestigious law firm but receives a secret phone number instead. Ash, known for his thorough checks, subjects Sarah to rigorous tests using burner phones, mailed packages, and a complex travel schedule that appears random but includes clues about the agents chasing her: a relentless surveillance team headed by Sam Worthington (who seems more suited to play villains) and Willa Fitzgerald. This process not only assesses Sarah’s dedication but also serves as a tactic to identify the individuals pursuing her.

The narrative zips through airports, post offices, and hidden corners of New York, creating an exhilarating cat-and-mouse game reminiscent of a Thomas Perry novel. We anticipate potential missteps that could jeopardize everything, with the first one being the revelation that Ash is a disillusioned whistleblower questioning his chosen cause. Another weakness, hinted at in the occasional fissures in Ahmed’s unyielding demeanor, is the solitude inherent in their mission. As Sarah, during one of their secure conversations, delicately urges for a glimpse of personality from her enigmatic, invisible ally, it feels like shouting, “No emotions! Too dangerous!

Relay,” as the title suggests, presents a battle between ordinary people and powerful institutions. The films’ flaws serve as their driving forces, increasing tension and creating suspense. However, some of its impact is diminished by questionable music selections. Despite this, McKenzie masterfully handles the material, while Giles Nuttgens’ cinematography provides a cool, eerie atmosphere and Matt Mayer’s editing keeps up a swift pace. In a year marked by exceptional adult espionage – like Steven Soderbergh’s “Black Bag” – “Relay” demonstrates that there’s still a demand for intelligent, thrilling spy stories.

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2025-08-23 21:01