The only redeemable section is the chemistry between the love interests. Unfortunately, there are not enough scenes with them in Running on Empty to offset the sometimes disturbing, constant underlying drag.
Running on Empty tries for quirky comedy with an intriguing premise, but it’s mostly a dry slog for its 90-minute runtime. Through dialogue, tone, acting, and plot, the movie is unsure what it wants to be or how to get there. One minute, it leans into weird comedy; the next, it delves into frightening moments. The only redeemable section is the chemistry between the love interests. Unfortunately, there are not enough scenes with them in Running on Empty to offset the sometimes disturbing, constant underlying drag.
Written and directed by Daniel André, the film follows Mortimer, played by Keir Gilchrist (It Follows, Freaky Tales), as he learns he has less than a year left of life and seeks a service that pairs people based on how much time they have left. The movie falters almost immediately as Mort, with his self-absorbed fiance, Nicole, played by Francesca Eastwood (Old, Outlaws and Angels), looks at purchasing a home. The shady realtor’s dialogue sounds forced without a proper degree of timed humor. While Gilchrist delivers a decent degree of endearing awkwardness, most of the cast and their dialogue give him nothing to work with. As the film progresses, it continues spiraling down.
Running on Empty Stars Gilchrist and Hale Save Parts But Not Enough
Much of the cast does not work. Rather than clumsy laughs, scenes feel forced, and even the cast does not get the humor. Jim Gaffigan (Peter Pan and Wendy, Linoleum), as Mort’s Uncle Barry, is not the least bit funny. Monica Potter (The Last House on the Left, Saw), who plays Mort’s mother, Elaine, delivers her combative, hysterical, and antagonistic dialogue as best she can. But it comes off as cringeworthy, leaving audiences wondering who this film is for and what decade this movie thinks it’s in.
Keir Gilchrist, as Mortimer, struggles with the awkward comedy the film possesses. However, that could stem from who is acting alongside him onscreen. When he is onscreen with Kate, played by Lucy Hale (Truth or Dare, Fantasy Island), there is a sweet, stilted connection between the two. So, there are emotional moments amidst the chaos of the film. Still, the scenes with these two are few, as Mort tries to find a new partner while dodging a pimp in pursuit.
Unforeseen Dark Moments Create a Jarring Tone
The humor is strange and flat throughout the majority of Running on Empty. But it’s apparent the film tries to give a unique comedic experience for audiences. Unfortunately, it misses the mark and sometimes deviates into a dread-filled tone. The transition is so disorienting that it creates irritation because audiences sign up for comedy and get violence without the humorous undertones.
There’s an ominous scene with the pimp banging at Mort’s door, and the way it’s shot is not the least bit funny. It’s uncomfortable. Even worse, the same pimp gets close to Kate in a threatening manner before choking her. How is this humorous? No woman watching this would laugh. It’s terrifying. Pick a lane, Running on Empty.
Touts Eccentric Laughs With Stereotypical Roles
If a film wants to lean into the oddball humor, that’s fine. There are plenty of movies that nail the awkward, off-timed comedic beats. They also include characters that exude a similar off-putting yet endearing charm. However, including the “Black coworker,” Sid, played by Jay Pharoah (SNL, Ride Along), who talks so hip that his awkward white coworker lead looks uncomfortable, is tiresome, stereotypical, and lazy. Much more could and should have been done with these characters.
Throwing in professional escorts and a pimp, and the movie becomes an offensive, ill-humored chore. Not only does Running on Empty feel the same as usual, it feels like the most negative aspects of it. The cutout roles for Black characters is egregious and by no means funny. Downgrading the few Black characters to the pigeonholed roles that should not continue existing in 2024 irreparably harms this movie.
While the concept of Life Day Count (LDC), which determines how many days a person has left to live, is an interesting, clinical take on the “I’m dying, so live life to the fullest,” it’s underutilized. The style of humor belongs to the early aughts rather than 2024. So, too much works against this film to be worthwhile viewing. Its message of living and loving gets lost in a tonally haphazard shuffle that aims for laughs, fails, and sacrifices whatever heartfelt message it meant to deliver. It’s flat, and despite its short runtime, Running on Empty will leave audiences depleted of humor and tolerance.
