Whistleblowers, Fixers & The Art of Staying Invisible - “Relay” (2025)
- Dan Brooks
- Nov 7
- 3 min read
A broker of lucrative payoffs between corrupt corporations and the individuals who threaten them breaks his own rules when a new client seeks his protection to stay alive.
So yes, I finally sat down and watched Relay - and by sat down I mean I made sure the popcorn was ready, the lights dimmed, and I mentally braced myself for something a little different than the usual explosion-fest I tend to lean toward. Because here’s the deal: this one’s a slow burn. But not boring. At least… not unpleasantly so.
The Setup
Directed by David Mackenzie and starring the terrific trio of Riz Ahmed (as Ash), Lily James (as Sarah Grant) and Sam Worthington (as Dawson).
The plot (with no spoilers, promise): Ash is a “fixer” of the hush-hush variety, brokering payoffs between corrupt corporations and the folks who threaten them. Enter Sarah, who needs protection - and when Ash bends his own rules for this new client, the whole thing starts to rattle.
So yes: corruption, anonymity, secret phone lines, documents, danger - all the classic thriller ingredients, done with a bit of finesse.
What I Liked
The concept is smart. Using a relay service (yes, the kind meant for the deaf/hearing-impaired) as the communication backbone for covert deals - that’s novel enough to spark interest.
The tension build-up is solid. It’s dialogue-heavy. It expects you to follow along, not to have every beat spelled out in neon. That’s refreshing.
That slow-burn quality. It doesn’t rush. Most of the time, you’re leaning forward, wondering who’s ahead, who’s behind, what the next move is. The film trusts you to watch.
The settings/geography (New York/New Jersey) become part of the texture. It feels lived-in, not just a generic thriller backdrop.
What Didn’t Totally Win Me Over
Slow pace - yes, I’m putting this here again, because if you’re craving bang-bang action, you might check your watch a couple of times.
Some of the acting in a few scenes felt a bit turned up-to-11. Which is weird in a movie that otherwise keeps things tight and controlled.
The final moments: I don’t want to spoil anything, so I’ll just say that while the film’s ambition carried me to its conclusion, the finish line felt slightly less crisp than the first two acts. Not fatal, but noticeable.
Interesting Facts
The screenplay by Justin Piasecki was originally titled The Broker and appeared on the 2019 “Black List” of best unproduced scripts.
The film premiered at the Toronto International Film Festival (TIFF) on September 8 2024.
What I found odd and clever: the relay-service bit. The fixer's communication method is through a service that leaves no records. That little choice gives everyday technology a sinister new vibe.
Director David Mackenzie previously helmed Hell or High Water, which tells you he knows how to bring tension and grit. That pedigree shows up here.
My Take
Think of this film as a grown-up thriller. It may not flash neon signs at you, but it whispers quietly - and sometimes the whisper is louder than a roar. The performances are strong, especially Ahmed who keeps things understated but loaded with intention. He doesn’t need to shout to get the point across.
If you're in the mood for something less boom-boom and more what just happened over the phone?, this is your film. It teases your brain just enough to keep you engaged, without asking you to sprint the entire way.
But-and there’s a but-if you came expecting The Fast & Furious style, you’ll probably feel like someone gave you decaf instead of your regular. That’s not necessarily bad; just different.
Final Ranking
I’ll give it a 6.8 / 10. It’s a good movie. I’ll likely revisit some elements (especially the quiet menace of the technology, the idea of anonymity in a digital age). It’s not perfect. It doesn’t reinvent the wheel. But it does something worthwhile, in a way that’s grown-up and smart without being dull.
So yeah-go see it. Then come back here and tell me you’re glad you did (or argue with me-I’m ready).
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