Sundance Film Festival Review: ‘Run Amok’ is Tonally Tricky but Emotionally Powerful

Movies about school shootings are tough to pull off. The aftermath of these gun violence tragedies is catnip to indie filmmakers, though aside from Mass, none have fully been able to pull it off. There’s clinical depictions like Elephant, as well as more cinematic efforts. Along now comes Run Amok, which seeks to do something different. Playing at the Sundance Film Festival, it certainly gets points for originality.

Run Amok should not work. In fact, parts of it don’t. There’s a version of this film that’s a comedy, as well as one that’s a bleak drama. The flick we get is mostly dramatic, but with some dry humor at times. The tonal complexity on display isn’t really aced, but here’s the thing…when it works, it really works. There’s some subplots that don’t fit, though two scenes in particular are good enough on there own to balance things out.

Teenage girl Meg (Alyssa Marvin) lives with her Aunt Val (Molly Ringwald), Uncle Dan (Yul Vazquez), and cousin Penny (Sophia Torres). This is her living situation because, a decade ago, her teacher mother was killed in a school shooting. Meg now attends that school, and with the ten year remembrance ceremony coming up, she’s been left out of the loop. When she finds out about it, she’s upset to have been excluded. Encouraged by Mr. Shelby (Patrick Wilson), who knew her mother and actually helped stop the mass shooting, Meg decides she wants to put on a musical about the day. Initially no one knows what to make of it, but Meg is determined and sets about crafting a play about the tragedy.

Principal Linda (Margaret Cho) is appalled, but Mr. Shelby supports Meg, who is joined by Penny and some other students. While she workshops the musical, she also begins interacting with the shooter’s mother, Nancy (Elizabeth Marvel). As the ceremony draws closer, the production continues to shift, as Meg is processing her grief in new and different ways.

Alyssa Marvin is very good with a quiet yet tough role. She keeps the quirky premise from ever becoming twee. To her, this meek young woman can only find a sense of solace in putting on this show. Sophia Torres and the other students are solid, though Marvin is above and beyond. Patrick Wilson does nice work as the understanding teacher, while the likes of Elizabeth Marvel and Molly Ringwald have strong moments. In addition to Margaret Cho and Yul Vazquez, supporting players include Bill Camp, among others.

Writer/director NB Mager seems to be trying to bite off more than she can chew, but when things are working, they’re really working. On the one hand, a scene where Meg leads students working on the production through the events of the shooting, is gut wrenching in how matter of fact she’s able to be, despite the anguish it would have to entail. There’s also the ending, which is quietly powerful. On the other hand, Camp’s character is a part of a subplot that just does not work, grinding things to a halt, despite his touching performance. So, it’s a mixed bag, overall, but with enough highs to balance out the lows.

Run Amok surprised me with how it manages to overcome its own misfires to ultimately be a worthwhile experience. I do wish that Mager had been able to balance things out a bit better, but despite some rough patches, it did enough to get my thumb in up position. As one of my final Sundance reviews for 2026, it ends the festival on an original note, that’s for sure.

SCORE: ★★★