I have not played any of the FMV titles over the years, so, coming into the scene and trying my hand at an interesting mobile game called The Run, I wanted to see if this genre is one I would enjoy. Directed by Paul Raschid, who has been steadily shaping the FMV landscape, this one delivers a sharp and focused horror thriller that thrives on simplicity and pressure. The premise is direct. A fitness influencer begins a calm morning run along the stunning trails of Lake Garda, only to become prey in a frightening, seemingly motiveless chase. Just the name and the icon itself told me it was either a horror or thriller type of game. So, without further ado, let me get into this and see if you share my sentiment about this game.
A Beautiful Trail Turned into a Nightmare
The game, or should I say the movie, starts relatively normally for most films to build some character, story, etc. This is usually presented in a way that establishes a connection or plausible reason for the character’s presence, or something along the lines of how it got to that point. The character is in a remote village or town and begins running to explore the fantastic landscape. Lake Garda is captured with such clarity that the game gains a cinematic edge. At first, the scenery feels peaceful with bright water, narrow dirt paths, and crisp Italian air. Once danger arrives, the same landscape becomes hostile. Open stretches feel too exposed, dense trees feel like traps, and every bend becomes a gamble. Yes, the game will pick up quickly. Some options let you avoid or choose different paths. I recommend exploring everything to see various scenes and scenarios,
Roxanne McKee carries the game with a performance that feels raw and convincing. She sells the exhaustion, the panic, and the quick bursts of determination needed to keep pushing forward. George Blagden also adds weight when he appears, and the cameos from Dario Argento and Franco Nero give the entire production a surprising amount of personality for a mobile title. The game includes over three and a half hours of filmed content, which helps the world feel bigger than its central premise. The acting in the game is pretty great, and the action is well done, portrayed as what an average person would probably do. There are a few things that could have been better or questioned at times, but I am sure they crafted it to make it believable, even if it’s a bit forced.
Choices That Cut Deep
The game is relatively short, and you can finish it in less than an hour, with the possibility to unlock everything under a day or so. The gameplay structure relies heavily on timed decisions. You rarely have long windows to think, which mirrors the desperation of the chase. More than once, I hesitated and immediately regretted it; however, if you hesitate too long, the scene will roll back, allowing you to start from a checkpoint. You can’t skip the scene, so you will have to watch it all over again. The Run contains twenty unique deaths, and none of them feel cheap. Some of the deaths I am impressed.
What I liked most was how clearly my choices shaped each path. The branching routes are easy to follow thanks to a Story Map that unlocks as you progress. It is satisfying to see how each run fits together. With five distinct endings, there is real incentive to replay and push your luck in different ways. I ran through the story multiple times, and though I wish I could speed up or skip some scenes I’ve already encountered, it is still nice to have a bit of a recap if I were to forget what happened when I pick up the game after a while.
The game also supports a Paused Choice mode, which is great for watching with friends. It changes the pacing, but it does not reduce the tension. Whether solo or in a group, every decision still feels personal.
The Run is already making noise, blending crisp filmmaking, quick decision-making, and confident performances into a tight thriller that rarely lets you breathe. It is out now on iOS for $9.99, with Android and PC versions on the way. It is up to you to decide whether it is worth it.
