The Outrun is a story that feels very personal. Based on the 2016 memoir of the same name by Amy Liptrot (who cowrote this screenplay), it is the journey of a young woman from alcoholism to inner peace. There is a lot of pain and quiet contemplation. This isn’t a linear narrative charting her path from addiction to recovery. Her attempt to live a sober life is interspersed with her days partying, as though every day is filled with memories of the fun she had going to bars with friends and the agony she brought to those she loves the most. Guilt, trauma and the fear of relapse absorb her even as she tries so hard to be a new person.
There are some sequences of real power, especially in the more peaceful moments. However, it also meanders, moving around in a way that loosens the emotional connection to the material.
What holds The Outrun (113 minutes, minus the end credits) together is the excellent lead performance by Saoirse Ronan. She is always present, always in the moment, always fighting the demons she is terrified she cannot overcome. She is a tremendous actress, clearly attracted to challenging material. She is great here as a fundamentally good person who has been hurt and has caused more hurt than she can bear. Sadly, the movie around her overwhelms her work at times with its pacing and structural issues. Still, it is worth seeing this just to get a look at a fantastic talent tackling a difficult role with sensitivity and passion.
Rona is a young woman dealing with her parents, loneliness, major life decisions and trying to stay sober. Ever present in her mind is the havoc caused by drinking, which took away the happiness that may not have existed for her in the first place.
There are many shots of Rona walking on the beach, looking out over the water or listening to bird calls that are captivating because Ronan and director Nora Fingscheidt do such of good job of presenting Rona’s internal battle. Cutting into them with clips of her dancing in a bar and passing out or physically/verbally attacking someone makes it even more effective. We know what she is trying to leave behind, but she is forever carrying those mistakes inside her. The Outrun gives its audience time to consider the past, present, possible future, the trials of life and the beauty of the world we live in.
Eventually, the jumping around in time becomes disorienting in a negative way, making it kind of hard to follow when we are. The sequences where we see Rona in AA, trying to make a connection with another person her age or learn about her complex relationships with her parents really stand out. The lack of a strong central narrative causes this to start to drag.
Certainly, not every movie needs to be story-based, but the length here is an issue. With a slower movie such as this, there can be a thin line between intriguing thought and boredom. The Outrun walks right on that line. There is a lot to love here, not least of which is Saoirse Ronan. Yet it ends up being too drawn out to reach greatness, even if the filmmaking occasionally does.
3½ out of 5
Cast:
Saoirse Ronan as Rona
Stephen Dillane as Andrew
Saskia Reeves as Annie
Paapa Essiedu as Daynin
Directed by Nora Fingscheidt
Screenplay by Nora Fingscheidt and Amy Liptrot
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