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Got to Run (2011)

Director: Robbie Moffat

Time Out rating

Average user rating

3 reviews

Movie review

From Time Out London

Inept and inane, this low-to-no budget British drama from one-man movie machine Robbie Moffat (a Scot who churns out three cheapo films a year) is about Sarah (Suzanne Kendall), an unhappy underwear saleswoman and jogger from Slough who, while on a work trip, finds inspiration from the British landscape to leave her job and dead-end partner. Which means she jogs around Lindisfarne, Glencoe and other beauty spots while smiling and rediscovering herself. It’s so technically horrible – acting, writing, sound and lighting are appalling – that it looks like a porn film without the money scenes (although Moffat gives us Kendall lolling about in her undies). There’s a comedy Irishman, a cartoon businessman and even a Frenchwoman called Madame Colette who runs a sex shop. It looks like Britain, it sounds like Britain – but ‘Got to Run’ doesn’t exist in any known universe.

Author: Dave Calhoun

Time Out London Issue 2128: 2 – 8 June, 2011

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User reviews of this film

Terry Trueman said...

Posted on Jun 20 2011 17:53 Another example by palm-tree film-making at it`s worst
weak script`no technical ability camera/lighting/etc..
and the symbolical acting it`s a farce!
when will it end????

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bob said...

Posted on Jun 12 2011 14:26 Robbie, do you really think posts like this are going to help?

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CultFollower said...

Posted on Jun 10 2011 00:20 Travelogue-like, this movie akes you all over the most beautiful of Britain's dazzling mountains, sparkling lakes and enchanting beaches.

It's the background to the story of Sarah, who dreams of studying French at university but has to work as a sales rep.

She sells lingerie for a dodgy boss, who sets her impossible sales targets and pays her a shitty salary. On top of this, Sarah's abusive boyfriend Colin treats her like dirt.

After the rigours of days on the road selling, she plans a way out of her rubbish life. But after dumping her boyfriend and job, her projects initiate a surprising change.

Moffat orchestrates the film with consummate skill, wit and elegance and, because of the breadth of its subject matter, it proves to be unexpectedly moving too.

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