In short: Running with the Devil (2019)

Somewhere on its way from South America into the USA and further north, the cocaine of a big drug cartel gets “enhanced” with something rather deadly. We learn very early on that the problem zone lies in the US, with a character the film only, in a pretty annoying effort to pretend to talk about archetypes but which really feels more like it is being too lazy to come up with character names, calls The Man (Laurence Fishburne). The Man is a keen customer of his own product, and plans to find just the right mixture to let him continue to steal cocaine from his very dangerous bosses; he’s an idiot, obviously.

Some of the victims of the guy’s new and improved cocaine turn out to be the sister and brother-in-law of a DEA agent, or, sigh, The Agent in Charge (Leslie Bibb). Said agent gets rather angry about this, and is only too happy to use tools like torture and murder to get at the people responsible.

Of course, the cartel isn’t happy about customers dropping dead quite this early in their careers as addicts, either, so they send a middle manager we will only know as The Cook (Nicolas Cage) to follow the supply chain northwards right from its start.

Jason Cabell’s Running with the Devil got quite a critical drubbing by the few professional reviewers who bothered with it, and it’s really not much of a surprise. Its whole “Sicario as an exploitation movie” shtick must be rather infuriating to quite a few critics. As someone who thinks the Villeneuve movie is – like most of his output – massively overrated, I don’t feel the outrage myself. Instead, I can’t help but think the film at hand has just as little of substance to say about the complexities and horrors of the drug business and the idiot attempts to curtail it with the heaviest hand possible as its more upmarket cousin.

My main problem with Running isn’t even that it is lacking in insight, it is how badly it uses its on paper ambitious and interesting drug picaresque structure. On one hand, it doesn’t trust into having a truly episodic structure enough to just skip a traditional main narrative altogether; on the other hand, its main narrative itself is much too fragmented to work straightforwardly. There are also decisions I find simply bewildering. For example, why tell the audience so early in the movie that Fishburne is the man responsible for the whole plot, and make Cage’s travels so even more pointless on the narrative level?

Additionally, there are painfully awkward tonal shifts, so we go from the film’s handful of scenes of actually tight and interesting crime business to what I can only assume is meant to be comedy, though it certainly isn’t funny. It’s a bit of a shame, too, for more of those tighter scenes could have been combined into a pretty great crime movie.

But at least Running is the one movie you’ll encounter in your life where Fishburne chews the scenery and Cage stays cool throughout.