Richard Brody reviews the film “The Outrun,” starring Saoirse Ronan and based on a memoir by Amy Liptrot, about a woman in recovery from alcoholism.
The movie tells an admirable and moving story about a woman overcoming her troubles, but it arouses no aesthetic interest, no sense of discovery in real time, no sense of creative risk. The earnest gravity of the telling gets in the way of anything that resembles artistic freedom, and the gap between the emotional input of the story and the emotional output of the movie is surprisingly, dismayingly large.
Just as scenes of physical activities merely signify that such things happened, with neither outer nor inner specificity, so the movie’s conversations are never brought to fruition, never wander into unusual and revealing territory, suggest no interpersonal connection but merely deliver information. As a result, the story unfolds like storyboard illustrations of one-line descriptions in a screenplay. The grand wild locales of the Scottish coast are reduced to mere backdrops.
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