MOVIE REVIEW – After 2018’s Outlaw King, David Mackenzie makes his return with Relay, a lean, paranoia-fueled thriller that feels ripped straight out of the golden age of the 1970s. In this world, the trappings of modern technology barely matter: the library, the postal service, and a relay phone line are the tools that count. Riz Ahmed dominates almost entirely without dialogue, while Lily James and Sam Worthington hold their ground as solid partners. The romantic element may stumble, but the finely calibrated structure, constant tension, and smart retro atmosphere make Relay a genuine big-screen experience.

When Ash (Riz Ahmed) goes about his work, it’s as if he’s stepped out of another era. A New York–based fixer, he communicates with clients through a relay service that hides his voice. He barely touches the internet—if he does, it’s at the local library—and his most reliable tool remains the postal system. It’s no wonder he comes across as a man displaced in time: Mackenzie’s Relay is a deliberate homage to classic conspiracy thrillers. Ash would look right at home in The Parallax View or Three Days of the Condor, and it’s the precision of his schemes—and the thrill of watching them unfold—that keeps the film so sharp and engaging.

Old-School Suspense in a Modern Package

Relay hooks the audience immediately with a gripping prologue. Hoffman (Matthew Maher) meets with McVie (Victor Garber), the CEO of Optimo Pharmaceuticals. Once intent on blowing the whistle, Hoffman has changed his mind—he just wants his life back. He hands over the incriminating files, but as insurance, he’s placed another copy in the hands of a third party. That’s where Ash enters, safeguarding not only the documents but also Hoffman himself, making sure the man survives unscathed and can return to a normal existence.

Ash is a figure of mystery, always protecting both himself and those who hire him. He uses a specialized device originally built for the hearing-impaired, typing out messages that are then relayed to his clients. His methods are brutally precise; he covers every angle to avoid leaving a trace. In Hoffman’s case, we see how nothing is left to chance—this is what makes Ash a master of his trade.

But once Hoffman’s ordeal seems settled, Ash takes on a new job: protecting Sarah Grant (Lily James), a scientist who warned her former employer, Cybo Sementis, about a dangerous chemical that could harm thousands. Sarah initially wanted to expose the company, but after enduring stalking and harassment, she craves nothing more than peace. Cybo’s operatives—played by Sam Worthington and Willa Fitzgerald—refuse to back down, forcing Sarah to turn to Ash. For him, this could be the toughest assignment yet.

The Spirit of the ’70s Revived

Justin Piasecki’s script and Mackenzie’s direction shine brightest when Ash’s plans play out flawlessly—or collapse under the weight of a single mistake. Mackenzie already proved his skill at ratcheting up tension with 2013’s Starred Up and 2016’s Hell or High Water, and Relay shows the same level of control: every possibility has been thought through, every beat mapped out. For the first thirty minutes, Ash barely utters a word, working instead from the shadows. That choice alone keeps the audience glued to the edge of their seats. While his process may feel overwhelming to clients, seeing the puzzle pieces lock into place is immensely satisfying.

The screenplay embraces a pure “show, don’t tell” philosophy. This applies not only to the nail-biting situations, which only reveal their stakes once we’re fully inside them, but also to character work. Ash’s life is revealed in fragments, leaving us to assemble his portrait from glimpses of solitude. Even at his AA meetings, he rarely opens up, yet as details of his past emerge, the full picture clicks into focus.

Riz Ahmed at the Top of His Game

Relay features Riz Ahmed’s strongest work since his Oscar-nominated turn in Sound of Metal. Because Ash is largely silent, the performance hinges on nuance—gestures, posture, and especially the eyes. In the opening sequence, when Hoffman appears to be shadowed by hired muscle, it’s Ahmed’s glance—charged with dread—that makes the moment electric. His quick thinking and ability to improvise in the heat of danger keep the action riveting. Mackenzie’s assured direction and Piasecki’s meticulous script would be impressive on their own, but Ahmed’s presence fuses it all together.

Lily James also delivers, often playing alone on-screen yet managing to convey Sarah’s fear and uncertainty with clarity. Her character’s arc is compelling, giving James the chance to showcase her subtlety. Meanwhile, Sam Worthington seems to relish the chance to cut loose as Cybo Sementis’s ruthless enforcer—a rare opportunity to lean into outright villainy, and he makes it deliciously despicable.

Where the Romance Trips Up

The weakest stretch of Relay comes in the tentative bond between Ash and Sarah. Though Ahmed and James share a spark, the script never quite sells the idea of romance—especially for a man like Ash, hardened by years of solitude and countless clients. While the thriller elements feel perfectly pitched, the attempt at intimacy comes across as contrived, particularly once the narrative tension peaks.

Still, Relay is the kind of thriller that begs for a rewatch even as you’re caught up in it the first time. Its twisting story reveals new layers scene by scene, while Ahmed and James slot seamlessly into the genre’s framework. In today’s marketplace—where blockbusters dominate theaters and smaller films often get shunted to streaming—Relay proves there’s still a place for sharp, nerve-shredding thrillers on the big screen. They may be rarer now, but as Mackenzie shows, they’re far from extinct.

– Gergely Herpai “BadSector” –