Joey Magidson
Depicting addiction in cinema can sometimes be permission to engage in tragedy porn. You certainly don’t want a film to go easy on its protagonist, to be sure, but at the same time, there’s a point at which you can disassociate. The Outrun never goes that far, but it does put its lead through some real tough moments. That the acting, as well as the sense of final pathos, shine through is what makes the movie worthwhile.
The Outrun lives and dies on its lead performance, as you might imagine. Considered a potential Oscar vehicle, the flick may not quite be on that level, but Best Actress recognition for Saoirse Ronan is hardly out of the question. She’s excellent and miles above the rest of the production. While it’s a mixed bag, she more than brings it across the finish line.
Rona (Ronan) is a recovering alcoholic looking for steadiness after rehab. Returning to her hometown of Orkney after a decade in London, she’s a strong woman with a fragile sobriety. Living with her mother Annie (Saskia Reeves), who’s deeply religious, Rona helps out her bipolar father Andrew (Stephen Dillane) on his sheep farm. He’s got several issues, including having sold the family farmhouse recently. It’s a simply existence, but reminders of darker times lurk throughout.
As Rona goes about her days, she thinks back to her lowest points. There was violence and tragedy, but also a romance with Daynin (Paapa Essiedu) that began with promise. She was on a path to self-destruction, one that Daynin couldn’t fix, but even in rehab, Rona is skeptical. Through it all, we also see her tough childhood, as well as calming moments working at the Royal Society for the Protection of Birds.
Saoirse Ronan is easily best in show, with this being one of her best turns to date. She depicts her character’s alcoholism in an incredibly committed and realistic way. It’s not pretty to watch, but it’s undeniably captivating. She grounds the work and keeps you invested, even as the plot threatens to lose you in its meandering nature. In addition to the solid supporting trio of Stephen Dillane, Paapa Essiedu, and Saskia Reeves, the cast includes Lauren Lyle, among others.
Filmmaker Nora Fingscheidt adapts Amy Liptrot‘s novel, penning the adaptation with Daisy Lewis and Liptrot herself. There is a shapeless nature to the plot, with the narrative often failing to hook you in. Ronan does, however, which Fingscheidt recognizes. Her direction keeps the attention on Ronan’s Rona. There’s some style on display in The Outrun, which helps paper over some of the writing issues, but it all comes back to this lead performance. Without it, the movie is nothing.
The Outrun isn’t great, but Ronan is. The film works because she’s as good as ever. If you’re a fan of hers, this is worth watching. Otherwise? Well, that depends. The movie is a fair addiction drama, but it lacks much that’s memorable outside of the performance. So, make of that what you will.
SCORE: ★★★
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