Except for its horrendous opening scene conversation between whistleblower Matthew Maher and CEO Victor Garber (going uncredited for his brief cameo), Relay consistently punches way above its weight class. It's got an interesting premise, great talent both in front of and behind the camera, and an eagerness to entertain. Now all it needs is an audience to pick up what it's putting down, or else this will be just another case of a mid-budget film exemplifying the age-old  adage of "If a tree falls in a forest..."

While Maher's character may be a whistleblower in possession of incriminating documents, his meeting with Garber doesn't serve the purpose we would normally assume. This isn't about one final showdown before the bad guy gets their comeuppance. No, this is about doing the (depressingly) logical thing, which is to give the documents back and live to see another day. Being a hero costs a lot more than anyone is willing to pay, and the bad guys are getting more ruthless and efficient.

This unofficial surrender doesn't come easy, which is where Tom (Riz Ahmed) comes in to work his magic. He's the unofficial agent for the whistleblower, handling every interaction between them and the company. Of course, this line of work can get quite dangerous. Tom protects his anonymity from everyone by communicating through the Telecommunications Relay Service (TRS), which enables people who are deaf to communicate with standard telephone users.

Sarah (Lily James) is the newest client for Tom. She's stolen documents proving the cover-up of the fact that her company's newest lab product has cancerous side effects. Sam Worthington's team of ex-special forces operatives has surveilled and harassed her day and night on behalf of the company, and it's Tom's job to get her out of the mud.

Ahmed may already be an Oscar nominee for his work in Sound of Metal, but Relay provides the most powerful example of his leading man capabilities. His first line of dialogue doesn't come until the film enters its second act, allowing Ahmed to flex his presence throughout the cat-and-mouse proceedings. He dons a few disguises, pulls some switcheroos that would make Ethan Hunt blush, and has a no-nonsense attitude about getting the job done with as little interference as possible.

Movie logic dictates that the main character's strict moral and/or professional code must be broken on the next job they take, especially if said job is supposed to be their last. Screenwriter Justin Piasecki doesn't shy away from those clichés, wrapping them around strong characters to bolster the narrative. We follow the job from beginning to end, learning the complex directions (and misdirections) Tom must follow in order to keep himself one step ahead. It's incredibly physically and mentally draining work, with no affirming reward beyond the simple act of survival.

Director David Mackenzie, returning to the silver screen after a seven-year hiatus that included a detour into television, makes sure that the struggle is incredibly satisfying to watch unfold. The kineticism is akin to an espionage thriller, with Tony Doogan's late-night score providing a smoky, cool atmosphere. The camera flows freely within the real-life settings, lending authenticity to this life-and-death story that goes unnoticed in plain sight.