Despite a seemingly dry premise, the film 'Relay' emerges as one of the most captivating cinematic experiences of the year, lauded for its enthralling central performances and polished direction. However, a significant portion of the audience may find themselves frustrated by an unexpected third-act twist. This pared-down whistleblower thriller takes a genuinely surprising turn, suggesting that viewers might benefit from entering the cinema with tempered expectations.

Riz Ahmed, known for his role in 'The Night Of', delivers another distinctive performance as Ash, a 'fixer' who utilizes a relay phone service for the deaf to anonymously assist clients who have uncovered evidence of corporate corruption and cover-ups. His usual modus operandi is challenged when a new client, Sarah Grant (portrayed by Lily James), contacts him to do the precise opposite: return incriminating documents to the company she stole them from and maintain a low profile. This predicament forces Ash to grapple with his responsibilities to protect Sarah and uphold his moral compass, as reported by the Express.

Director David Mackenzie once again showcases his remarkable versatility as an adaptable mid-budget filmmaker, following his acclaimed gritty Western crime epic 'Hell or High Water' and the historical drama 'Outlaw King'. Mackenzie’s straightforward and focused approach works exceptionally well for 'Relay', crafting a tight espionage thriller that, despite sounding complex on paper, quickly captivates the audience, largely due to the compelling performances of its two lead actors.

Films that delve into the exposure of government and corporate corruption possess a quiet allure, often achieving their impact without relying on the high-octane action or suspense typical of more conventional thrillers. Examples include 'Michael Clayton', 'Erin Brockovich', and Todd Haynes' recent chilling masterpiece 'Dark Waters' – though these are admittedly more serious explorations of public health threats compared to 'Relay', which cleverly introduces Hitchcockian twists with varying degrees of success. Fortunately, 'Relay' largely succeeds, maintaining tension for most of its nearly two-hour runtime as Ash and Sarah frantically navigate New York, delivering, retrieving, realizing errors, and relocating documents, keeping the audience on edge.

Meanwhile, a relentless band of hired thugs, led by the smug Dawson (portrayed by Sam Worthington at his most irritating) and the lively Rosetti (Willa Fitzgerald), doggedly pursue them at every turn. Some of 'Relay's' most brilliant moments occur when the relay service is ingeniously used to outwit and diminish Sarah's pursuers, highlighted by an excellent early scene in an airport that perfectly demonstrates Ash's ingenuity.

The film's modern Hitchcockian atmosphere is significantly enhanced by the masterful portrayal of chemistry between Ash and Sarah, two characters who rarely meet face-to-face. Their budding relationship unfolds predominantly through phone calls, with Ash often communicating through a third-party voice. This dynamic is a testament to Lily James's ability to ignite a genuine spark through minimal dialogue and nuanced reactions. Riz Ahmed is equally mesmerizing as a near-silent lead, navigating tense scenarios and close shaves with a stoic demeanor that should capture the attention of James Bond's casting directors. He also infuses the role with profound pathos when Ash's personal issues surface, sensitively depicting his character's shame over his alcoholism, having been raised Muslim.

In 'Relay', this delicate balance of burgeoning romance and suspense is brilliantly executed by a script that is both economical and frequently witty. It effectively elicits sympathy for Sarah's dire predicament while Ash quietly weighs whether his next action serves his client's interests or the greater public good. However, the simmering tension abruptly dissipates with a third-act twist that fails to hold up under scrutiny and abandons much of what made the initial hour and a half so captivating. The intention might have been to jolt audiences who had grown accustomed to the subdued cat-and-mouse game, as this is also where the stakes are unnecessarily heightened with a claustrophobic fist-fight in a speeding van (admittedly well executed) and some obligatory shoot-outs (less impressive), but these additions were ultimately unnecessary.

Some viewers may find that 'Relay' shifts into high gear following this unexpected reveal, and there is a possibility that it will fare better upon rewatching, especially considering the first two-thirds certainly possess the vitality to sustain numerous repeat viewings. Regrettably, for this reviewer, the attempt at a surprise twist only succeeded in concluding an otherwise sensational thriller with a sense of cynical disappointment. 'Relay' is scheduled for release in UK cinemas from Friday, 31st October.