River (2016)

In a demanding role light on dialogue, Sutherland’s rangy, loping physicality serves both the character and the action well – camera and fugitive are seldom at rest, and on the move in tense, extended bursts whenever an opportunity presents itself.

River ends with relief, followed by a reversal that’s the last thing you expect from this unvarnished, unsentimental tale of self-preservation: an act of quietly powerful heroism.

Dagg keeps things simple, but his jogging camera whips up the urgency and he’s well-served by Sutherland’s rangy physicality.

Dagg’s thriller is slow to get going and hampered by an inexpressive leading man.

Whilst Sutherland gives an impressive and powerful performance as an American on the run, the lack of substance and originality leaves you feeling somewhat unsatisfied.