Oscar nominee Riz Ahmed brings his leading man bravado to the throwback style thriller “Relay” from Bleeker Street for director David Mackenzie. Justin Piasecki pens the screenplay, and even novice moviegoers will recognize it is the kind of movie that makes you lean forward, grin at its cleverness, and remember why mid-budget thrillers used to be such a rush.
At first glance, this situation appears to conform to the classic whistleblower narrative. Sarah Grant, portrayed by Lily James, is a biotech employee who discovers evidence that has the potential to undermine her organization significantly. Consequently, she becomes the target of influential adversaries who are intent on silencing her, willing to go to great lengths to achieve their objective.
Her car is set on fire, her nerves are frayed, and she faces a classic dilemma: should she bury the truth to protect her safety, or should she fight back despite the odds being against her? Enter Ash (Riz Ahmed), an enigmatic fixer, a man who operates in the shadows and has a razor-sharp mind.
Ahmed’s character has no name for the first stretch of the film, and barely utters a word in the opening half-hour. Instead, he communicates through the “Telephone Relay System,” a service designed for the hearing impaired. It’s a sly twist—he isn’t deaf, but he uses the system as a shield, creating a barrier of distance and secrecy that frustrates his enemies and protects his clients.
The effect is ingenious. Director David Mackenzie makes a return to features for the first time in eight years after the highly enjoyable “Hell or High Water” and once again turns silence into suspense. By the time Ahmed finally speaks, the audience is locked in—watching a game of chess played in real time between his unflappable operator and Sam Worthington’s blunt corporate enforcer. Their back-and-forth is a cat-and-mouse ballet, staged with humor, tension, and just enough disguise work to keep things cheeky.
Cinephiles will surely feel that stylistically, Relay feels like a lost cousin of the paranoid thrillers of the 1970s, with a modern tech upgrade and a touch of the 1990s. Ahmed’s deadpan disguises, James’ wide-eyed but steel-backed performance, and Mackenzie’s knack for mixing suspense with sly laughs keep the film humming.
Even when the third act leans too hard into high-concept twists that raise more questions than answers, the ride has been so sharp and satisfying that you forgive the wobble. What lingers isn’t the misstep but the energy: a thriller that trusts its audience, respects intelligence, and has fun along the way.
“Relay” may not save the genre, but it proves the genre still has plenty left in the tank.
Final Grade: B+
“Relay” opens in theaters today
