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Outrun jogs along addiction path

Robin Holabird

The Outrun feels more like a slow jog than rapid race following a path towards beating addiction. Co-writing with memoir author Amy Liptrot, director Nora Fingscheidt bypasses typical booze drama in favor of mood and a believable sense of the difficulties involved in fighting addiction. Using narration, the script accompanies scenic vistas in the harsh world of Scotland’s isolated Orkney islands where author Liptrot experienced her drying out battles. Location filming enhances the story, emphasizing the loneliness of a conflict whose enemy lies within. Underwater photography and catching the natural world provides visual impact, but the major box office appeal comes from hiring a magnetic star in the lead, Saoirse Ronan. A four-time Oscar nominee at age 30, Ronan regularly demonstrates skill and dedication to her roles, learning the slimy process of birthing a lamb for The Outrun. She slurs drunkenly in many scenes—often an awards bait move—but in a subtle turn, also stares longingly to show the temptation and challenge of staying



sober. Watching the serious process of dealing with addiction rarely proves fun, and The Outrun ‘s enjoyment factor often runs thin. Moving back and forth in time creates an occasional choppy impact, with swirling camera work and pulsing euro trash “music” annoying but suited to a drunken mindset. The unpleasantry heightens the transition and “ah ha” realization that comes through opening up to nature and the real world. It leads to a sweet, inspiring, and welcome final moment for a project that while slow at times, projects believable inspiration.

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© 2019 by Robin Holabird
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