Horror fans of even the most horrific films can agree that in reality there is only so much that a person’s mental state can take. As we see in films like The Blair Witch Project only a few days in an environment that feels dangerous and oppressive can break a person’s spirit. Don’t Run would have you believe that the mental fortitude of a 15-year-old boy is strong enough to deal with the depression on losing his remaining parent, followed by a monster taking up residence in his closet that will eat him is he is not in bed every night by sundown.

It is never easy to move to a new town as a teen. For Peter it almost feels impossible, being 15, a fan of astronomy, and being bullied before he even arrives at school. After losing his mom it felt like life couldn’t get any worse, but that was before he was visited by the man in the bloody bandages. The man who told him that there was a creature living in his closet that would do horrible things to him if he wasn’t in bed ever night before sundown. The only hint to staying alive was what the man told him that night was “whatever you do, wherever you go, don’t run from your demons, for always they’ll know”.

Don’t Run is a film that lands in a very complicated spot right in the middle of the road of being good and bad. From a horror movie concept standpoint, the film is unique in the idea of choosing between living the rest of your life in lockdown or being horribly killed in the pursuit of freedom, made even more real when Peter talks to a man on the phone who has been dealing with this same monster for over two years. On the other hand, the story comes across as bloated and largely uninteresting when you realize the direction the film is going. The most interesting part that is glazed over being one of the boys who bullied Peter is getting him groceries because he is terrified of the idea that the monster will leave Peter’s house.

On the technical side of the film, while competent enough to not be distracting, has most scenes still lacking in interesting shot compositions and flourishes that would make this film stand out. Strangely enough, there are moments in the film that are shot very well to the point where it feels like there were two cinematographers, even though this film only has one credited. That becomes a running theme of Don’t Run, competent, and not competent moments such as the mics being perfectly leveled, to a scene where the volumes are far too high and you can hear every crinkle of a snack being opened.

Technicals aside, this good enough to be considered a film and not just someone pointing a camera at things happening. For a first full-length feature from a director, there is a lot to enjoy in Don’t Run whether you are looking for a spooky film or an amusing experience filled with odd production choices.  This is a good first attempt and shows that the director has the chops to make and even better second film.

5 out of 10