This is one of the trickiest things about everyfilmin2011.com
I beg to be sent a preview DVD of a film, the film-makers enthusiastically send me one and then integrity means that I have to write an honest and, thus, sometimes damning review.
Indeed, the makers of Got To Run were so keen they have sent me two DVDs.
I am afraid that doesn't make the movie any better.
Suzanne Kendall plays Sarah Maguire a young woman who is fed up with her useless boyfriend, bored with her job (she sells lingerie) and senses that her life is heading for a humdrum marriage and three kids.
As she says ''I wake up every day and have to drag my legs out of the bed''.
So she starts to run..and run..and run.
At first, her bouts of running come between her sales calls then they take over completely.
The problem with Got To Run is that it is not clear on what it is trying to be and, therefore, becomes terribly disjointed.
The press release which accompanied the DVD proclaimed it as a romantic film. You have to wait for the last five minutes for any sign of romance.
The British Board of Film Classification web site says it is a comedy.
Well, there is certainly a nod to the Carry On films here and there. The lead character Sarah Maguire (Suzanne Kendall) appears in her smalls more often that Barbara Windsor in her pomp. There is even a scene where her naked boobs are covered by a 'censored' notice!
Also her boss Jack Pratt (Jon Paul Gates) is modelled on many of the 1960s crusty sexist types and one of her customers has a French accent which outdoes the constable in 'Allo 'Allo.
My concern is that I'm not sure whether the over-acting is deliberate. Probably, because it didn't elicit one single laugh.
Then I read that Palm Tree Entertainment, the company behind Got To Run, has the slogan "Creating Cinema Landscapes.''
Well, there is no doubt that some beautiful parts of Britain are shown off in all their glory as Sarah Maguire runs and runs and runs...like Forrest Gump.
There are more oddities about Moffat's film. Firstly, how Sarah keep turning and talking to the camera. Secondly, the particularly strangely placed jazz music soundtrack and thirdly, how each of her runs is announced on screen with a label and a number. For example '8. Glencoe'.
As I've said before, I cannot judge low budget films any differently just because of the money spent on them.
But I will say in Got To Run's defence that it has its heart in the right place and there is a germ of a decent story here.
However, the camera lingers too long where it doesn't have to and the acting is never convincing.
And so, while it is not the worst film I've seen this year and gave no offence it cannot be worth more than 3/10.
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