Riz Ahmed and Lily James keep audiences on the edge of their seats inRelay,a pulse-pounding thrillerWhere the protagonists are cleverly separated until a dynamite third act. The premise sees an elusive New York fixer helping a terrified scientist return damaging corporate secrets; the twist is that they can't physically interact due to legitimate safety concerns. So the protagonists use a telephone relay service, where an operator acts as an intermediary between clients to communicate. It's a sharp plot device, and superbly executed through slick editing and tense exposition.
Relay'sParanoia kicks off from the first frame, as we see a panicked Hoffman (Matthew Maher) entering a late-night diner holding a portfolio. A black SUV pulls up in front, and Hoffman sweats as a mysterious man (Victor Garber) in a suit sits across from him. Hoffman gives specific instructions about the exchange, with a pointed comment about what he's handing over. The documents change hands. Hoffman watches as the SUV drives away. But he still has something else to do. Hoffman hurriedly exits, unaware that the interaction was observed by his savior mere yards away.
Paranoia Reigns
The fixer (Ahmed), whom Hoffman knows as "Tom," casually looks over his shoulder as he walks a circuitous route to a downtown apartment. He puts a copy of the documents in a safe, knowing that they are the only guarantee of Hoffman's survival. Tom then uses a telecommunications device for the deaf (TDD) to contact a service that calls Hoffman and gives him Tom's final message. The money will be deposited as agreed. Hoffman can begin a new life, but the burden of his silence remains.
The following day, an agitatedSarah Grant (Lily James)visits a law firm and explains her harrowing situation. Sarah took a classified report from her previous employer, and is convinced that they're now watching her every move. Sarah doesn't want to extort the company; she just wants to give everything back and return to normalcy. But the lawyer can't help her do anything remotely illegal. Sarah breaks down. She's alone and frightened with no options. The lawyer hesitates before giving her the number of Tom's answering service.
Co-writer Justin Piasecki hooks viewers withRelayhis clandestine methodology, as Tom's true identity and backstory are slowly revealed. Tom is deliberate in every move he makes: No fingerprints can be left behind, and a phone can only be used once before being destroyed in salt water. He's also a master of disguise, always adopting new looks while following his clients. Facial recognition and cameras are useless against him. He's like a ghost hovering over your shoulder, monitoring every move and always three steps ahead.
Meanwhile, Sarah is our reluctant guide into a cloak-and-dagger world.RelayPresents her as capable and intelligent, but understandably overwhelmed. Her initial contact with Tom begins with the answering service, and then moves into the relay arena. There can be no room for error, and Sarah learns to follow every detail as instructed. But Sarah needs more than a cold, unseen benefactor operating in the shadows. Will Tom let his guard down to comfort her frayed nerves?
They're Watching
Relay'srising action introduces formidable adversaries.Sam Worthington co-stars as Dawson, a relentless corporate mercenary with deep resources and a gang of henchmen willing to spill blood. They are watching Sarah closely, but learn the hard way not to underestimate Tom's capabilities. Dawson's anger and frustration at being outwitted grows into a hateful respect: He is facing an elite player in a game where his perceived advantages have been nullified. This requires Dawson to employ different tactics, and he has no problem with playing dirty.
Director David Mackenzie (Young Adam, Hell or High Water, Outlaw King)creates palpable tension through character development and crisp editing, illustrating the mechanics of deception by cutting between Tom and Sarah as fate pulls them together, moving in parallel with the relay service. Mackenzie captures both sides of the story with this riveting equal-time approach, but every move has a counter from Dawson that must also be weighed.
Sarah isn't a whistle-blower. She knows the damage suppressing the report will cause, but she doesn't want to be a hero or martyr. She wants her life back. Tom is similarly complex: Is he motivated by greed? What's his reason for engaging in such a risky business? Why doesn't he do the right thing for the greater good? The answer is thought-provoking, and gives real insight to these well-written characters. Ahmed and James are fantastic here, evoking fear and vigilance as the moral distress of her theft begins to weigh heavily.
RelayHas more twists than a pretzel. Pay attention, and you'll be able to sniff them out fairly early in the narrative. It begs the question — why can't the ostensibly smart protagonists figure it out, too? To be fair, the audience has the benefit of a helicopter view, and can see the bigger picture. But the delight is in the details, and it's thrilling to watch this story unfold.
Relay, a Black Bear Pictures, Thunder Road Films and Sigma Films production, was reviewed as part of the2025 Tribeca Film Festival's Spotlight Narrative. It will be released theatrically on August 22nd fromBleecker Street.
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