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The topic of motherhood has long provided the horror genre with some of its greatest stories. From “ Rosemary’s Baby ” to “ The Babadook ,” there is something inherently scary about watching your beloved child be overtaken by evil forces or reckoning with the idea that becoming a parent makes us vulnerable to just about every terrible thing in our world (and beyond). In Daina Reid ’s new film “Run Rabbit Run,” fertility doctor Sarah ( Sarah Snook ) meets these tensions head-on when her precocious seven-year-old daughter Mia ( Lily LaTorre ) begins to claim she’s actually Alice, Sarah’s sister who disappeared when she was Mia’s age. 

Reid’s ghost story uses innocuous objects to emphasize the film’s sense of unease. First, Mia shows up with a white fluffy rabbit and quickly becomes obsessed with it, to the point where she begins wearing a self-made pink rabbit mask. The bunny, which she names Rabbit, ominously hops around the house, a harbinger of the bad things still to come. When Sarah tries to get rid of Rabbit, it bites her, the first of many injuries she will incur as she spirals over memories of her missing sister, her estranged mother, and her recently departed father. The film’s conflict is centered between mother Sarah, and daughter Mia, but it also includes a thorny relationship with Sarah’s mother, Joan ( Greta Scacchi ), creating a cycle of guilt from childhood sins and feeling like she’s not doing enough for her kid. 

Rabbit is not the only troubling thing in Hannah Kent ’s script. In setting up Sarah’s narrative, Kent shows the audience how much Sarah’s been pushed to the brink even before anything unexplained begins. She’s divorced and co-parenting with her ex-husband, Pete ( Damon Herriman ), who has moved on and is starting a new family of his own. Sarah is also dealing with the death of her dad, his things are still piled up in her garage, still to be sorted through. And then there’s her mother, an ominous figure also losing her memories to dementia. When Mia’s problems escalate, she first tries to be the strong parent doing what’s right for her child, but then, she starts to hurt herself in the process and by extension, hurts Mia. 

In a marvelous departure from her best-known role as Shiv Roy in “Succession,” Snook brings her character a motherly sense of care and duty. She’s attentive and affectionate in ways many of us haven’t seen her. Her calm, collected demeanor quickly erodes in the face of uncertainty and stress. Snook’s attention and care for LaTorre’s Mia are deeply felt, and their bond is evident from the first scene when the mother wakes up her daughter with a birthday gift. LaTorre looks at Snook with large expressive eyes that shift from confused and scared when she’s inexplicably bleeding to burning with rage when she screams that she’s actually Alice. But in moments of Mia’s clarity, LaTorre runs to Snook and embraces her tightly for safety, establishing the close relationship between the pair early on, giving us a sense of what will be lost once Rabbit enters the frame.  

Sarah’s descent into madness mirrors the haunting landscape of the film’s setting in Waikerie, Australia.  There ate windswept horizons, imposing cliffs, stormy clouds over luscious green hills, flutters of birds flying in droves by her old home, and what looks like trees sprouting out of a purple river. The film wallows in a weatherbeaten palette, with lots of pale yellows and dusty grays in the daytime. At night, darkness takes over, and even well-lit homes and cozy bedrooms start to feel unsafe. Cinematographer Bonnie Elliot carefully plays with these moods to create a visual sense of Sarah’s spiral. The film’s aesthetic becomes increasingly erratic as she loses her grip on reality. When Sarah goes in and out of a dreamlike state, images may look hazy or disorienting in their closeup, then harshly come into focus when she returns to reality. When Sarah starts to lose control, Snook physically takes her character to that dark place, but the film’s camera immerses the viewer in her unease. 

Motherhood, like extreme moments of grief, can be among the most life-changing experiences—a clear demarcation of life before and after the event. Sometimes, it can also be coupled with extreme feelings of isolation, which in this horror movie, makes a person vulnerable to the ghosts of their past. “Run Rabbit Run” is a solid, spooky tale without anything too flashy like a Babadook to haunt our dreams and memes but chilling enough to make us sit up in our chairs and scan the screen for the next sign of danger. While a fluffy white rabbit may symbolize innocence, it leads Sarah down a nightmarish version of “ Alice in Wonderland .” The mothers in this film are haunted by the mistakes they made. Joan never seemed to have recovered from Alice’s disappearance, and Sarah’s barely buried trauma resurfaces her own feelings of regret over failing her daughter. And once Sarah is through the looking glass, are she and Mia safe? Are any of us?

On Netflix now.

Monica Castillo

Monica Castillo is a critic, journalist, programmer, and curator based in New York City. She is the Senior Film Programmer at the Jacob Burns Film Center and a contributor to  RogerEbert.com .

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Film credits.

Run Rabbit Run (2023)

100 minutes

Sarah Snook as Sarah

Greta Scacchi as Joan

Damon Herriman as Pete

Julia Davis as Gail

Trevor Jamieson as Sandy

Georgina Naidu as Andrea

Shabana Azeez as Nowa

Lily LaTorre as Mia

• Hannah Kent

Cinematographer

• Bonnie Elliott
• Nick Meyers
• Mark Bradshaw
• Marcus Whale

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Run Rabbit Run Reviews

The Australian film does a neat job in creating an atmospheric horror but loses its command over the genre after a point.

Full Review | Nov 2, 2023

The film rests squarely on the shoulders of Succession star Snook, who does a lot of heavy lifting, keeping us sympathetic right up to, and maybe even beyond, the point of revelation. parenthood.

Full Review | Oct 4, 2023

After all the metaphors and horror tropes, Reid’s Run Rabbit Run is an undercooked supernatural film which had the potential to bring new ideas. However, it resulted in a missed opportunity to tell a story on the trauma and grief of motherhood.

Full Review | Sep 8, 2023

Run Rabbit Run could have benefitted from a tighter and more precise screenplay but instead meanders to an unsatisfactory conclusion that audiences most likely predicted before it happened, rendering the chill of it lukewarm at best.

Full Review | Sep 6, 2023

An Australian dark psychological thriller.

Full Review | Original Score: B- | Aug 12, 2023

Sarah Snook does the best she can with the poor material given to her, but it isn’t enough.

Full Review | Original Score: D | Jul 29, 2023

Run Rabbit Run really attempts to lean into the psychological horror of its plot and gives more patience to its grieving characters, which is admirable on a conceptual level. If only there was more patience to spare for its lack of original ideas.

Full Review | Original Score: 2/5 | Jul 26, 2023

Run Rabbit Run is a very stale and unimaginative horror flick that has repetitive and boring scenes of a mother hallucinating and having a bad temper. The story's 'mystery secret' (revealed at the end) is too easy to solve, so there's hardly any suspense.

Full Review | Jul 23, 2023

Hannah Kent’s script keeps us guessing to the end, and the atmospherically tricksy story is much enhanced by juvenile thespian LaTorre’s precociously eerie performance.

Full Review | Jul 14, 2023

There are clichés all over the shop, but they’re deployed with skill and precision, making this small-scale effort a cut above bigger efforts, such as the latest Insidious movie. Very good stuff.

Full Review | Original Score: 3/5 | Jul 13, 2023

A slower-than-slow slide into a mother’s concern for a psychosis seemingly taking over her child, or perhaps herself, Daina Reid’s film almost made good on its threat to put me to sleep.

Full Review | Original Score: 1.5/4 | Jul 11, 2023

This is a creepy and disturbing Australian horror movie that's a reflection on life and death, grieving and trauma.

Full Review | Original Score: 3/5 | Jul 10, 2023

This Australian psychological thriller. starring Sarah Snook, is fearful yet frustrating - an eerie, minimalist glimpse into guilt and motherhood but the conflicted characters & backstory are not sufficiently developed to emotionally engage the audience.

Full Review | Original Score: 5/10 | Jul 8, 2023

Both leads are great, but the film takes too many easy outs and never fully resolves anything.

Full Review | Original Score: 2.5/5 | Jul 7, 2023

Run Rabbit Run has strong individual moments of terror, but the film never comes together satisfyingly enough.

Full Review | Original Score: 2/5 | Jul 7, 2023

Led by powerful performances, but wastes its “creepy kid” premise by playing its cards too close to the chest.

Full Review | Original Score: 5/10 | Jul 6, 2023

Run Rabbit Run doesn’t fall behind by being a collection of clichés, but more that it takes the same old scenario and stretches it long and thin.

Full Review | Jul 6, 2023

Run Rabbit Run plays as another riff on trauma, using The Babadook as a key outline. The difference comes in the form of just how aggravating it is to watch less accomplished filmmaking.

Full Review | Original Score: 3/10 | Jul 6, 2023

If it’s not scary, what’s the point?

Full Review | Original Score: C+ | Jul 6, 2023

While it definitely won’t win any awards for originality, relative newcomers to mummy mayhem should find an hour and 40 minutes of ghoulish distraction here.

Full Review | Original Score: 3/5 | Jul 6, 2023

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‘Run Rabbit Run’ Review: No Child of Mine

A splendid Sarah Snook battles weak plotting in this atmospheric, derivative ghost story.

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By Jeannette Catsoulis

Buried trauma and resurrected guilt get quite the workout in Daina Reid’s “Run Rabbit Run,” a ludicrous Australian psychodrama that forces the fabulous Sarah Snook to interact with a creepy bunny.

Snook plays Sarah, a fertility doctor with a small daughter, Mia (a remarkable Lily LaTorre), and a genial ex-husband, Pete (Damon Herriman). From the start, Sarah appears fraught, coping poorly with the recent death of her father. When Pete confides that he and his new wife are planning to have a child, Sarah’s distress only increases: There is a reason she doesn’t want Mia to have a sibling.

While we wait for that to be revealed, we watch Mia transform into a stranger and Sarah photogenically fall apart. Demanding to visit the grandmother she has never met, Mia begins experiencing tantrums and panic attacks, mysterious bruising and nosebleeds. Rather than consult a doctor, Sarah accedes to the child’s wishes, with predictably disastrous results. In movies like this, rational adult behavior is counter to requirements; instead, we have a lolloping white rabbit, which materializes on Sarah’s porch and violently resists expulsion.

Gloomy and vague, “Run Rabbit Run” is a moody, noncommittal tease replete with the usual spectral signifiers: clammy dreams, scary drawings, unsettling masks. Snook does everything but rend her garments in a performance that only emphasizes the busy vapidity of Hannah Kent’s script. At times, though — when Bonnie Elliott’s uneasy camera creeps into a dank shed filled with gruesome tools, crawls through a forbidding tunnel of twisted vines, or flinches from a shocking incident with scissors — a more vital, more incisive movie peeks out. At the very least, I’d like to have learned more about that darned bunny.

Run Rabbit Run Not rated. Running time: 1 hour 40 minutes. Watch on Netflix .

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Run Rabbit Run (2023)

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Run rabbit run, common sense media reviewers.

Eerie, unsettling horror tale has family trauma, violence.

A Lot or a Little?

What you will—and won't—find in this movie.

Sarah and her mother Joan have spent a lifetime tr

Racial and gender diversity in the characters, ref

Some injury detail: A deep cut on a character's ha

Occasional profanity. "F--k" used several times. A

Cigarette smoking. Wine drinking.

Parents need to know that Run Rabbit Run is a 2023 Australian thriller/horror movie in which a mother must come to grips with her past when her daughter starts claiming to be someone from the mother's past. There are some violent moments, including hallucinations of blood on hands, a girl drowned in a river,…

Positive Role Models

Sarah and her mother Joan have spent a lifetime trying to repress and avoid a traumatic event from Sarah's childhood.

Diverse Representations

Racial and gender diversity in the characters, reflective of Australian culture -- including an Aboriginal Australian character.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Some injury detail: A deep cut on a character's hand from a rabbit is bloody. A young girl frequently gets bloody noses. A mother locks her daughter in a storage room drawer, and the girl attacks her mother, who strikes her with a wrench. Hallucinations of drowning, of blood on hands, of a girl being pushed off of a cliff. A mom accidentally slams a car door on someone's hand. A daughter strikes her mother in the head with her hand. Jump scares throughout. A mother expresses concern to school authorities that perhaps her daughter's unusual behavior is due to being bullied.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Occasional profanity. "F--k" used several times. Also "s--t," "piss."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Run Rabbit Run is a 2023 Australian thriller/horror movie in which a mother must come to grips with her past when her daughter starts claiming to be someone from the mother's past. There are some violent moments, including hallucinations of blood on hands, a girl drowned in a river, a girl pushed off a cliff, and a mother striking her daughter in the forehead with a wrench after locking her in a storage shed closet. A young girl frequently gets bloody noses. A daughter slaps her mother hard on the head with her hand. A mother accidentally slams a car door on her daughter's hand. The movie also has jump scares, cigarette smoking, wine drinking, and occasional language, including "f--k." To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

In RUN RABBIT RUN, Sarah ( Sarah Snook ) is a fertility doctor going through the grieving process in the aftermath of her father's recent passing. She's a single parent, raising her daughter, Mia (Lily LaTorre), with the help of Mia's father, Pete ( Damon Herriman ), with whom Sarah is on good terms. Mia's behavior takes a strange turn shortly after she finds and keeps a white rabbit. She makes and constantly wears a bunny rabbit mask over her face, draws the same disturbing image on all of her papers and homework, and then begins to claim that she is Alice, the 7-year-old sister of Sarah who went missing when they were kids while under Sarah's watch. Things get even stranger when Sarah reluctantly agrees to take Mia to see Sarah's estranged mother, Joan, who suffers from early dementia in a nursing home -- Joan believes that she's seeing Alice again. They stay in Joan's house and Sarah's childhood home, and Sarah must contend with Mia's increasingly disturbing behavior while also confronting traumas she has long held at bay.

Is It Any Good?

This is a creepy and disturbing Australian horror movie that's a reflection on life and death, grieving and trauma. Run Rabbit Run makes excellent use of its Australian setting (somehow reminiscent of how the early Mad Max movies used the unique flora and fauna of the Outback to heighten the tension), and the acting talent, including Succession 's Sarah Snook, is top-notch throughout. As young Mia, Lily LaTorre captures that spooky yet innocent quality that comes through when something's not right with young kids in horror movies.

What prevents this from being a truly great movie is an overreliance on the conventions and clichés of horror movies. There's entirely too much background mood music, which is distracting. Someone also needs to tell all aspiring directors at Horror Movie Film School to please knock it off with the "bloody nose" cliché. Some of the attempts at symbolism -- hallucinations of "blood on your hands" and the white rabbit -- are a little too on the nose. Still, the movie succeeds in conveying its uncomfortable themes.

Talk to Your Kids About ...

Families can talk about horror movies like Run Rabbit Run . How is this similar to and different from other horror movies that focus more on creepy and unsettling mystery than on violence and gore?

How does the movie explore themes of death and dying and the repression of traumatic memories?

How did the movie use music to heighten scary moments, or even the jump scares?

Movie Details

• On DVD or streaming : June 28, 2023
• Cast : Sarah Snook , Damon Herriman , Lily LaTorre
• Director : Daina Reed
• Inclusion Information : Female actors, Female writers
• Studio : Netflix
• Genre : Horror
• Run time : 100 minutes
• MPAA rating : NR
• Last updated : August 31, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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‘Run Rabbit Run’ Review: Sarah Snook is Spooked by Her Kid in an Effective if Familiar Mommy-Issues Chiller

Debut feature director Daina Reid throws a rusting shed-full of horror tropes at the wall in her Sundance Midnight premiere. A surprising number of them stick.

By Jessica Kiang

Jessica Kiang

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Popular on Variety

Snook plays Sarah, a fertility doctor grieving through the recent death of her beloved father, but maintaining a bravely cheerful face for her daughter Mia (LaTorre), who is turning seven. Sarah is no longer with Mia’s father Pete (Damon Herriman, not playing Charles Manson for a change), but on amicable terms with him and his new partner Denise (Naomi Rukavina). They are invited to Mia’s birthday party. Pointedly not invited is Sarah’s mother Joan (Greta Scacchi) who is languishing with dementia in a nursing home. The estrangement is not accidental: Sarah deliberately dodges the increasingly insistent calls from her mother’s caregivers, and unseen by Mia, pockets Joan’s birthday card to her granddaughter. Later that evening, sipping wine alone on the windy back porch, she burns it. 

If Reid doesn’t invent many new horror scenarios, she is certainly assiduous in cramming in as much existing iconography as possible. There’s the crude rabbit mask that Mia insists on wearing. There are childhood photographs with scratched-out faces and a corrugated shed hung entirely with tetanus-rusty knives and clawlike tools. There are an improbable number of doors in the habit of swinging slowly open in the background and a lot of dreams where something unspeakable is just about to be revealed as the dreamer wakes with a gasping start. Oozing wounds, recurring bruises, sudden nosebleeds and inky black recesses in which something, or perhaps nothing at all, crouches — “Run Rabbit Run” has them all.

Many of these elements, along with the “Alice in Wonderland” allusions of the sister’s name and that pesky white rabbit, signify more than they actually deliver. But Bonnie Elliott’s sepulchral cinematography, especially in the “Top of the Lake”-style Australian Gothic landscapes of later on, makes each one a carefully designed exercise in camera placement, while Mark Bradshaw and Marcus Whale’s shreddingly uneasy, bass-laden score preys on your nerves even when you know you’re being hoodwinked. 

But it’s primarily the performances that ensure “Run Rabbit Run,” which was acquired by Netflix prior to its Sundance bow, is more than a greatest-hits compilation of classic horror scares. Snook is playing so far against her Shiv-from-“Succession” type that it’s not until late on that we remember her great capacity for slyness. “I thought we’d agreed Mia would be an only child,” she tells Pete when he reveals he and Denise are trying for another. What seems at first like the jealousy of an ex-wife soon takes on eerier resonance — perhaps there’s another reason Mia shouldn’t have a sibling? — and Snook’s complex expressivity supports all the different readings. And if anything, she’s outmatched in ambivalence by the brilliantly self-possessed LaTorre, whose Mia is always both a supernaturally haunted child and a curious, clever little girl with an unerring instinct for truffling out her mother’s secrets through make-believe.

“You’re a good girl,” whispers Sarah to herself, arranging her Dad’s old sweater around her neck like an empty embrace. “You’re a terrible person!” Mia screams at her later, in a fit of either childish temper or spectral possession. In a surprisingly uncompromising finale which goes to places other motherhood horrors fear to tread, where the turn of the screw just won’t stop turning, “Run Rabbit Run” leaves little doubt which assessment is closer to the truth. After all the referencing of recent horror hits, Reid’s sleekly crafted potboiler finally obeys a much more ancient logic, that of a dark fairytale, the kind in which a devil’s pact made so long ago it’s almost been forgotten finally comes due, and the price, in blood and kinship, is steep.

Reviewed at Sundance Film Festival (Midnight), Jan. 19, 2023. Running time: 100 MIN.

• Production: A Netflix release of a Carver Films production with XYZ Films, Screen Australia in association with Film Victoria, South Australian Film Corporation, Soundfirm. Producers: Sarah Shaw, Anna McLeish. Executive producers: Nate Bolotin, Maxime Cottray, Nick Spicer, Aram Tertzakian, Deanne Weir, Olivia Humphrey, Jack Christian, D.J. McPherson, Daina Reid, Sarah Snook, Jake Carter, Katie Anderson. 
• Crew: Director: Daina Reed. Screenplay: Hannah Kent. Camera: Bonnie Elliott. Editor: Nick Meyers. Music: Mark Bradshaw, Marcus Whale.
• With: Sarah Snook, Lily LaTorre, Damon Herriman, Greta Scacchi, Naomi Rukavina, Trevor Jamieson.

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‘Run Rabbit Run’: ‘Succession’ Star Sarah Snook vs. a Very Bad Bunny

By David Fear

Admit it: You would totally want to watch Shiv from Succession go toe to toe with a supernatural bad bunny.

That’s how Run Rabbit Run sells itself initially, or at least it’s the general direction that this Australian horror film points you toward. You’ve got Sarah Snook , a strong contender among many for the Most Valuable Player of HBO’s hit show , playing a single mother — also named Sarah — who’s already a little edgy when we meet her. And you’ve got a mysterious rabbit that shows up on her doorstep, a birthday gift for her daughter Mia (Lily LaTorre) from parties unknown. The kid loves it. Mom, not so much. Dodgy pet vibes and whatnot. When she tries to get rid of their furry friend later that night, the animal bites her hand. He’s got a vicious streak a mile wide! And let us assure you that you truly have not lived until you’ve heard the (hopefully) future Emmy winner tell a floppy-eared, nose-twitching lil’ wabbit to straight-up fuck off .

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Such inconsistency is usually a dealbreaker, unless you’ve got someone who can guide you through the dead space and past the rough patches — and this is where Snook comes in. Anyone who’s watched her in Succession knows she can play the emotional scales. But this is the sort of role that requires a performer to give reaction shots that are little more than the tiniest seismic tremors and sequences that necessitate nuclear meltdowns. The Aussie actor has got both in her bag of tricks; Snook’s full-blown freak-out game is tight.

You hate to wish for a star to continue suffering for your enjoyment onscreen ad infinitum, yet her willingness to throw herself into a ghost story as warped and through-the-wringer as this bodes well for us. Run Rabbit Run does not end up giving you the Snook version of this . But the movie will make you believe that its lead has a long and fruitful future career in psychological thrillers if she wants it.

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Run Rabbit Run (2023) Review – a slow-burn psychological horror that falls short

Here is our review of the 2023 Netflix film Run Rabbit Run, which does not contain spoilers.

Earlier this year, at the Sundance Film Festival , Run Rabbit Run   had its premiere during the Midnight program. Director Daina Reid presents this psychological thriller in a unique way that blends the past with the present. As Sarah’s daughter Mia gets older, her mental health becomes a discussion because Sarah hasn’t treated her own past trauma.

Sarah keeps secrets from Mia and doesn’t help her with her grief after the loss of her grandfather. Everyone has difficulty coping with the loss of a loved one, but children do express things differently.

The film does a fairly good job of addressing mental health and how children don’t have the proper vocabulary to explain what’s going on.

Run Rabbit Run (2023) Review and Plot Summary

In this film,  Succession   alum Sarah Snook plays a fertility doctor named Sarah who believes firmly in life and death. Still, after noticing the strange behavior of her young daughter, it challenges her values and confronts a ghost from her past.

Sarah has a fun relationship with her daughter as the film opens on her birthday. After passing an eerie lake with a sinister score, things do not seem cheery where they live. It feels gloomy, with a sense of impending doom on the way.

When she drives her daughter home from work, her daughter says that she misses someone, and Sarah questions it because her daughter has never met the person she’s describing.  How could you miss someone you never met? 

As they pull into the house, they notice a white bunny at the doorstep, and the daughter insists that it’s a sign the bunny belongs to her. Sarah feels a bit suspicious, given the odd things happening around the house on her daughter’s birthday. The garage door is open upon their return, and Sarah receives some letters that leave her in a weird state.

Sarah finds out that her ex-husband wants to try for another baby with his new wife, and a scream from the living room breaks the tension. Sarah’s daughter hits the other child and keeps hitting them in front of the parents.

Sarah doesn’t understand what has gotten into her daughter, but something feels very off.

It doesn’t stop there. Her daughter Mia gets in trouble at school as well, and Sarah thinks that this lashing out is about someone bullying her. Mia ( Lily LaTorre ) continues to say questionable things to her mother, even claiming that she misses her mom; that’s not her. The creepiness seeps through the score, and Mia (after losing the bunny) starts wearing a bunny mask.

The more Sarah keeps Mia at home, she assesses what she says because it’s like she’s connected to another world.

It plays out as an art-house horror film that builds on themes of grief, mental health, and past decisions. It almost feels directionless because of how aimless the plot is. There’s a storm coming in, the setting is there, and the single location of the house is present, but all of these elements fall flat because of the story.

Is Run Rabbit Run (2023) good or bad?

Even though Sarah Snook gives a complex performance as a struggling mother who doesn’t understand what’s happening with her daughter, the story falls flat. Director Dana Reid does create a chilling atmosphere, and the cinematography is lovely, but there’s no substance.

It is also drawn out to the point where the concept isn’t as thrilling as it was in the beginning. This is an original concept, but after watching  The Babadook ,  it’s all a bit too familiar. If you’re a fan of Sarah Snook, then this is a good watch, or else there are other slow-burn psychological horrors that are better to sit through.

Is Run Rabbit Run (2023) worth watching?

It’s worth the watch just for Sarah Snook. However, the pacing is uneven, and it takes a while to get to the meat of the story with Sarah’s secrets. A strong performance from the lead actress isn’t enough to carry this film out, unfortunately.

The sound design and score do bump up the viewing experience, but there aren’t many scary moments to warrant how strong those elements are. Sadly, it’s not worth the watch because there’s nothing compelling about this premise halfway through the film.

What did you think of the 2023 Netflix film Run Rabbit Run? Comment below.

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Article by Amanda Guarragi

Amanda Guarragi joined Ready Steady Cut as an Entertainment Writer in June 2022. She is a Toronto-based film critic who has covered TIFF, Sundance Film Festival, Austin Film Festival, and HorrorFest International. Amanda is also a growing YouTuber, with her channel Candid Cinema growing in popularity.

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Netflix’s new thriller Run Rabbit Run lets Sarah Snook confront trauma head on

The Succession star finds out being a mom isn’t easy

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Share All sharing options for: Netflix’s new thriller Run Rabbit Run lets Sarah Snook confront trauma head on

Few things go together better than horror movies and haunted kids. Netflix’s new movie Run Rabbit Run is a perfect example.

Carefully treading the line between horror and psychological thriller, Run Rabbit Run stars Succession ’s Sarah Snook as a fertility doctor named Sarah. Sarah’s still carrying quite a bit of grief over the passing of her mother when her daughter Mia (Lily LaTorre) starts acting extremely strange. More specifically, Mia refers to herself as “Alice,” and claims that she wants to “see her mom.” As it turns out, Alice is the name of Sarah’s sister, who disappeared at about Mia’s age, and Sarah never told Mia about. Things only get weirder and creepier from there.

As the movie goes on, Mia disappears into her persona of Alice, knowing things that only Alice would. As life unravels, Sarah is forced to look deeper into her own past and confront her repressed memories and grief over Alice’s disappearance. This is where Run Rabbit Run really shines, especially compared to some of the other recent horror movies that delve into trauma .

While trauma metaphors have dominated the horror movie genre since The Babadook ’s release in 2014, the effectiveness of writers and directors drawing that connection has been hit or miss. Movies like It Follows , Midsommar , or M3GAN manage to nail their themes without getting too lost in their analogies. Others, like Smile , The Boogeyman , and Candyman , take too heavy a hand in their trauma plots, often losing sight of the scares or even their own story in service of their allegories and themes.

Run Rabbit Run avoids the messiness of metaphor entirely by making the trauma the actual text: Mia morphs from the source of Sarah’s worry as a parent into the source of her grief as a sister. By diving headlong into the protagonist’s trauma instead of talking around it, director Daina Reid (Apple TV’s Shining Girls ) is able to play around with more surreal images and warping realities, twisting Sarah’s world and distorting it through the lens of her pain, grief, and maybe even some repressed memories. It’s a powerful and often disturbing combination that gives the movie a creepy atmosphere and some of its most effective and terrifying moments.

The movie’s directness can’t quite mitigate all the problems that plague the recent wave of trauma-tinged horror films Most specifically, the ending feels a little too tidy compared to the movie that preceded it, especially as it loses some of the surreal images that make the rest of the final act so harrowing in favor of a too-clean scene that easily fades from memory. But even without completely sticking the landing, Run Rabbit Run is still among the most interesting Netflix releases of the year so far, and easily one of its better horror options .

Run Rabbit Run is now streaming on Netflix.

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‘Run Rabbit Run’: The Year of Sarah Snook Begins With One of Sundance’s Biggest Movies

The “Succession” star doesn’t just return to the popular show this year. Kicking off her slate of big projects is “Run Rabbit Run,” the Sundance horror film scooped up by Netflix.

Matthew Jacobs

Courtesy of Sundance

If you know Sarah Snook as the slick shark Shiv Roy on the quintessentially American Succession , hearing her Australian tongue is jarring. Even in a movie like Run Rabbit Run , which takes place down under, Snook's natural intonations feel like a put-on, if only because she's so defined by the HBO series that has earned her two Emmy nominations.

This works in Snook's favor. Run Rabbit Run premiered at this year’s Sundance Film Festival , mere hours after becoming one of the lineup's first big acquisitions when Netflix bought the movie with plans to release it later this year. Industry observers have questioned Sundance's commercial power at a time when theatrical moviegoing is suffering, but the festival still produces hits.

Apple paid a reported $25 million for the Sundance opener CODA in 2021, and the crowd-pleaser went on to become the first streaming release to win the Oscar for Best Picture. Before that, Palm Springs , The Farewell , Late Night , The Big Sick , and Manchester by the Sea bucked speculation that Sundance's triumphant dealmaking days were waning. Run Rabbit Run ’s early acquisition was a sign to the industry that Sundance’s titles still have the potential for mass appeal.

We'll probably never know how many Netflix subscribers hit play, but Run Rabbit Run will get to enjoy a healthy shelf life. The twisty psychological thriller introduces Snook as a tranquil fertility doctor named Sarah, content to sing "Happy Birthday to You" to her 7-year-old daughter (Lily LaTorre) and go about her prosaic life. Shiv Roy would never. Sarah has a stillness about her that counters Shiv's always-be-closing nerve.

Eventually that stillness unravels. Sarah seems to be handling her father's recent death fairly well, but something about little Mia turning 7 triggers a breakdown in both mother and daughter. We soon learn that's the age at which Sarah's sister disappeared, causing an eternal rift with her own mother (Greta Scacchi), who's now living with dementia in a nursing home and has never met Mia. Once a mysterious white rabbit shows up at Sarah and Mia's Melbourne doorstep, Mia's behavior grows increasingly hysterical. She obsesses over an old photo of Sarah and her sister, accuses Sarah of not being her real “mummy,” and starts drawing demented doodles at school.

Much of Run Rabbit Run , written by novelist Hannah Kent and directed by Daina Reed ( The Handmaid's Tale ), treads familiar horror terrain. There are sprinkles of The Babadook , Birth , and The Bad Seed , but the movie it most resembles is Relic , the 2020 indie about three intergenerational Australian women whose chilly family history coils through one haunted house. Relic and Run Rabbit Run both depict parents responsible for passing emotional wounds to their children, often without realizing it.

Mia is too young to comprehend the turmoil Sarah might face. Sarah herself doesn't seem to comprehend it. When Mia demands to be called Alice, the name of her mom’s dead sister (no wonder there's a rabbit), things get really dicey. Is Sarah projecting her own ghosts onto Mia, or is Mia proving to Sarah how mania-inducing motherhood can be? And why won't that damn bunny go away?

It's about trauma is the undercooked thematic spine of too many horror movies released in the last few years, parroting a buzzword that has eclipsed psychotherapy and become a shortcut for fiction longing to convey Deep Meaning. At least Run Rabbit Run —unlike Smile or the latest Halloween trilogy —keeps that subtext beneath the surface. The movie transcends most of its redundancies thanks to the ominous atmosphere Reed cultivates, landing a couple of ghastly fights along the way. She has assistance from a low-pitched score composed by Top of the Lake collaborators Mark Bradshaw and Marcus Whale.

Nothing would work without Snook’s performance, though. Run Rabbit Run was initially going to star Elisabeth Moss , who tends to bring a more feral quality to her roles. Sarah’s initial ease is key here. It’s the armor behind which she hides the anger and guilt that seep out as the movie nears its climax. In those emotions we see shades of Shiv emerge, confirming how excellent Snook is at portraying internalized rage.

This marks the start of a bright 2023 for Snook. Succession ’s much-anticipated fourth season is slated to premiere this spring, picking up with Shiv’s oft-beleaguered husband, Tom (Matthew Macfadyen), having usurped her quest for control of the family’s company. (How’s that for familial trauma, a word Succession wouldn’t dare use in earnest?) Later this year, Snook will shoot The Beanie Bubble, an Apple movie about the surprisingly layered Beanie Baby craze of the '90s, alongside Elizabeth Banks, Zach Galifianakis, Geraldine Viswanathan, and Hacks' Carl Clemons-Hopkins.

Much of the Succession cast has already capitalized on the show's acclaim. Jeremy Strong is starring in Oscar-friendly movies like The Trial of the Chicago 7 and Armageddon Time , Kieran Culkin hosted Saturday Night Live in 2021, Nicholas Braun has parlayed his breakout fame into a variety of eclectic gigs like Zola and Sundance's Cat Person , and J. Smith-Cameron is finally getting the recognition she has long deserved. Snook, previously best known for small parts in The Dressmaker and Steve Jobs , can join the club now, too. She is every bit their equal, with the buzzy festival hit to prove it.

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Stream It Or Skip It: ‘Run Rabbit Run’ on Netflix, in Which Sarah Snook is Stuck Among a Litany of Creepy-Kid Horror Cliches

Where to stream:.

• sarah snook

Shop New Funko Pops Inspired by ‘Succession’

Sarah snook recalls brian cox flying into a “rage” on ‘succession’ set: “his voice can be very terrifying”, ‘succession’s sarah snook calls herself “too young and naive” to stand up against producer who rudely criticized her for eating cake, sarah snook admits she felt “so sad for shiv” during that major ‘succession’ finale twist: “are you f—king kidding me”.

Run Rabbit Run (now on Netflix) might not get much traction without its headliner: Emmy-nominated Succession star Sarah Snook, who anchors this psych-horror outing directed by another Emmy nominee, Daina Reid (who garnered that acclaim for helming episodes of The Handmaid’s Tale ). This Australian film dabbles in trauma, mental illness and apparent supernatural possession, while the animal in the title looks on ominously, wiggling its cute widdle pink nosey-wosey as ominous drones WBRRRMMMMM on the soundtrack. You may be deep-sighing at such cliches, but the question here is whether Snook’s actorly skill can overcome the film’s familiarities.

RUN RABBIT RUN : STREAM IT OR SKIP IT?

The Gist: Sarah (Snook) is a mother, daughter, sister and ex-wife who seems to be the subject of torment on all four of those fronts. Then again, who’s the common denominator here? Right. Not pointing any fingers, but, you know, where there’s smoke and all that. And there’s some crucial context: Sarah’s father recently died, and all signs say they were very close. It’s her daughter Mia’s (Lily LaTorre) seventh birthday, and her dad Pete (Damon Herriman) is bringing his wife and stepson over for cake and ice cream. Mia and the boy enjoy each other’s company, and Sarah and Pete are in a congenial and warm place, although it’s still a bit awkward, as you’d expect. Two things happen on this day that arouse curiosity: The first is the arrival of a cute white rabbit on the premises, and it’s timid enough that Mia scoops it up and of course wants to keep it. The second is, Mia’s little stepbrother bonks her on the head, which seems like the usual little-kid shenanigans, but in retrospect, may have repercussions of a more SINISTER nature. Or not! Who knows!

That night after company has left and Mia’s in bed, Sarah steps out to sneak a secret cigarette and burn the birthday card from Grandma Joan. That’s Sarah’s mother. She thinks she’s getting rid of something by doing that, but we all know she’s just adding another item to the baggage strapped to her back. Then she tries to drop the rabbit over the fence, but it squeals and bites her and leaves a nasty oozing wound and instead of being kept in a makeshift pen it’s now free to wander untethered throughout the house, prompting the synthesizer operator to lean very heavily on the keys, and also probably shitting wherever it pleases. Most people would give the little biter less freedom instead of more, but never mind, and besides, the movie has to keep going back to it for Moments of Ominous Portent. 

Enough with the rabbit, who doesn’t have a name but I’m tempted to dub Red Herring; let’s move on. Now, about that bonk on the head. The next day, Mia insists upon visiting Grandma Joan. She’s never met her, but she really really wants to visit Grandma Joan. Grandma Joan, Grandma Joan, Grandma Joan. Sarah isn’t sure why, and resists, and won’t tell Mia why she resists. Sarah’s long been estranged from her mother, and has been ignoring calls from a rest home, so maybe it’s time to rip the band-aid off. They make the long drive – complete with the Horror Movie Long Overhead Shot Of A Car Driving Down A Winding Country Road – to visit, where Sarah learns that Joan (Greta Scacchi) has dementia. She’d know that already if she’d answer her dang phone. Joan doesn’t recognize Sarah, but she immediately embraces Mia, except she calls her Alice. The old woman is sick and confused, obviously. Sarah has to drag Mia kicking and screaming to the car to leave, and from this point, Mia insists that she be called Alice. Who the hell is Alice? She’s Sarah’s dead sister, that’s who. Well, shit. Looks like we have a psycho-supernatural dilemma on our hands. 

What Movies Will It Remind You Of?: Run Rabbit Run boasts plenty of Hereditary and – maybe it’s the Australian factor – Babadook isms. And the Sinister Rabbit? It’s highly reminiscent of the Satan-o-bunny from The Witch and/or 1983’s Twilight Zone: The Movie . 

Performance Worth Watching: Snook clearly has the chops and screen presence to give a resonant portrayal of a deeply haunted mother/daughter/ex-wife/sister, and her performance is by far the most memorable element of Run Rabbit Run .

Memorable Dialogue: Mia-slash-Alice chills her mom to the bone when she explains why she so desperately wants to see the grandmother she’s never met: “I miss people I’ve never met all the time.”

Sex and Skin: None.

Our Take: Snook is so good in Run Rabbit Run , it bums me out that she has to exist alongside a litany of tiresome and repetitive cliches from Creepy Little Kid Movies, including, but not limited to, the following vaguely occult problem-child behaviors:

• Wearing a crude, sinister, handmade mask
• Insisting she go by a dead person’s name
• Experiencing inexplicable nosebleeds and mysterious head wounds
• Drawing disturbing pictures
• Nurturing a psychic bond with an animal
• Saying/doing things that make the lights flicker

So clearly, Mia is possessed as f—. And by whom, you already know, although the movie really really hopes you don’t – or at least hopes you don’t figure out the circumstances culminating in the dramatic fallout we see here. (Note: You’ll figure it out.) Or maybe she’s not possessed as f—, and everything is Sarah’s delusion, because the film isn’t above shameless attempts at gaslighting us or its deeply troubled protagonist.

This isn’t to say the movie lacks substance. Sarah’s struggling to balance the mother/daughter/ex-wife/sister that everyone needs her to be, and Hannah Kent’s screenplay ruminates around in the Womanhood Of It All, specifically the pressures of her present and how she resists the past’s attempt to encroach upon the peace (that in reality isn’t peace at all) she’s found in the wake of deeply unhealthy psychological compartmentalization. Sarah is a frustrating character, and as much as we want to empathize with her, she insists upon pushing her demons into rooms and slamming the doors and leaning on them instead of just owning her shit – which might make for a more compelling and original movie, instead of this grab-bag of weary horror shibboleths that lead to a vaguely dissatisfying conclusion. To the film’s credit, Reid foregoes bloodshed for scary unseen things, directs with confidence and a strong cinematographic eye, and draws a muscular performance from Snook. But the material ends up tripping over too many tropes to be a deeper excursion into the psychology of childhood and motherhood. 

Our Call: Kill the wabbit, kill the wabbit, kill the waaaaaabbbbbbbit. SKIP IT. 

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

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Run Rabbit Run review – Sarah Snook fails to spook

The Succession star is typically excellent but even her performance feels too familiar in this derivative ‘mummy horror’ flick

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M otherhood is mayhem. Just ask any woebegone mama of film history: Mia Farrow’s wide-eyed Rosemary Woodhouse, beset with paranoia; Margaret White, the religious zealot of Carrie who mistakes punishment for protection; the bloodthirsty Pamela Voorhees; the abusive Norma Bates.

Nowhere, though, is home to more mummy issues than Australia, a country that has hosted some of recent cinema’s stickiest forays into miserable mothers. See: The Babadook’s young widow defending her precocious son against a spindly storybook beast. Or 2020’s Relic , where three generations of women confront their relationships with one another while also confronting some sort of annoying demon disrupting their family reunion. Or, of course, Toni Collette’s longsuffering matriarch in Hereditary, her instantly famous diatribe – “ I AM YOUR MOTHER! ” – sending shockwaves through every mealy mouthed mama’s boy. If cinema can telegraph national identity, then Australia needs to go to therapy immediately.

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Into this lineage comes director Daina Reid’s Run Rabbit Run, an Australian mummy horror so indebted to its forebears that it feels derivative by default. The cliches fly thick and fast: a squall of wind in the distance, a barren landscape striated by naked branches, ghoulish dreams awash with eldritch images. And that’s just the first five minutes. Before long, we meet that most crucial of tropes: a mother, Sarah (Sarah Snook), and her creepy daughter Mia (Lily LaTorre).

It’s Mia’s seventh birthday, but everything feels grim. Mia’s grandfather has recently died, and mother and daughter are still riding the aftershocks of his death. The sky is pallid, and the house – a chilly place somewhere in the city – easily dwarfs its two inhabitants. Sarah trudges through melancholia to put on a birthday celebration: a quiet affair with her ex-husband, Pete (Damon Herriman), and his new partner, Denise (Naomi Rukavina).

A white bunny has somehow entered the house, to Mia’s delight and Sarah’s consternation. It takes to hiding under tables and in eerie corridors: an unwelcome guest whose presence is less adorable than alarming. We return to the rabbit throughout the night, sometimes in spine-tingling closeup, its eyes gleaming devilishly in the blue-dark. Not since Monty Python has a rabbit looked so bloodthirsty; it’s no wonder Sarah tries – and fails – to exile the feral creature when she thinks no one’s watching. “Piss off,” she chides the bunny, who promptly bites her.

The bunny becomes one of Run Rabbit Run’s most tantalising elements. Its arrival might be a Lewis Carroll reference, especially given the name of Sarah’s sister – Alice – who went missing as a child. But the film quickly does away with the bunny’s mystery (supernatural, or merely strange?) to focus on Mia’s increasingly hostile demeanour. Something’s been off-kilter since her birthday: she’s suddenly demanding to visit Joan (Greta Scacchi), Sarah’s long-estranged mother whom Mia has never met. Before long, Mia is insisting that she is Alice reincarnate.

These are certainly intriguing threads, but they can’t help but feel recycled. Mia’s uncanny, sinister quirks are pulled straight from The Babadook; Sarah’s strained relationship with her ailing mother hews a little too close to Relic, with which this film shares two producers. Snook, of course, is typically excellent, fresh from her turn as Succession’s petulant, scheming Shiv Roy in another spiky role here – but even her performance, as it heightens towards a crazed delirium, recalls Toni Collette’s in Hereditary.

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Run Rabbit Run pulls from each of these entries without ever quite congealing into its own work. At its worst, it replicates the most overplayed tendencies of so-called elevated horror, the subset of the genre which rejects outright thrills and chills in favour of a more subdued, and often duller, gloominess. Screenwriter Hannah Kent – better known for her novels – has a knack for morbid, moody portraits of women in isolated communities, but Run Rabbit Run leans on its atmosphere as a crutch, turning to an abstraction that feels increasingly limp. Something here is weird , we’re told for the fourth, fifth, sixth time.

Against all reasonable logic, Sarah returns to her late father’s country house with Mia in tow, where the film continuously hints at a darker current of dread eddying just beneath the surface: patches of blood that mysteriously appear on Mia’s forehead, or a back yard shed full of sharp tools. But these hints never erupt into something greater, and it begins to grow tiresome. Taken together, they play less like a film and more like a moodboard of scares. Motherhood, for all its mayhem, looks a little mundane.

Run Rabbit Run is being shown as part of Sydney film festival, on 10 and 15 June . It will premiere on Netflix worldwide on 28 June

• Sydney film festival 2023
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Run Rabbit Run Review: A Generic "Mother-Horror" Carried by Succession's Sarah Snook

Bolstered by Sarah Snook's powerhouse performance, Run Rabbit Run is a haunting yet cliched addition to the maternal horror sub-genre.

Horror movies that explore maternal themes, or as it's so plainly written, maternal horror, or the "mother-horror" subgenre is a very packed one in horror. Movies like The Babadook, Hereditary, Rosemary's Baby, and Goodnight Mommy are without a doubt the best to ever do it, and offer compelling dives into motherhood all while delivering some truly horrifying experiences.

Premiering at the Sundance Film Festival in 2023, Run Rabbit Run is the latest film to tackle the "mother-horror" subgenre to varied effect. It's a haunting flick carried by powerful performances, however Run Rabbit Run perhaps leans into its genre tropes a little too much.

Directed by the fantastic Daina Reid, mostly known for her work on The Handmaid's Tale, Run Rabbit Run is still a spooky good time despite the clichés. Fans of the "mother-horror" subgenre will find plenty to enjoy about the Netflix Original flick, if they can look past the tropes and its lack of originality. It may lose some audiences during the movies second act, but Run Rabbit Run, does well to recapture audiences attention during it's final minutes.

"… Run Run Run"

Run Rabbit Run follows Sarah (Sarah Snook), a fertility doctor who begins noticing some strange behavior from her daughter, Mia (Lilly LaTorre). Sarah must challenge her own values and confront a ghost from her past in the process.

The film starts on a scene that should typically be a day of happiness and cheer; however, Mia's seventh birthday is depressingly grim. At this point, we don't know why, but Daina Reid fills the scene with heaps of paranoia. Soon, Sarah's ex-husband Pete (Damon Herriman) and his girlfriend Andrea (Georgina Naidu) come over to celebrate. Andrea's son begins hitting Mia, forcing Sarah to shout out the poor boy, in front of his parents. Immediately something seems off.

As the film progresses, Mia begins to act very strange. She begins asking to see Joan (Greta Scacchi), whom she's never met, and starts screaming at Sarah to call her Alice, who we learn about later on in the film. As the film progresses, Mia's actions become increasingly strange. At least this is what the film leads you to believe, but with any good "mother-horror," it's the mother who may be at fault . Her past trauma comes back to haunt her while Sarah continually lose her grip on reality.

Related: The Best Netflix Original Horror Movies, Ranked

Sarah carries a lot of trauma, from losing her sister when she was younger, to her mother developing Alzheimer's and her father passed away. These psychological and emotional issues make Sarah an unreliable narrator of sorts, and the film plays with her perception of reality and the people around her in twists that, although predictable, does work and is nonetheless shocking and disturbing.

Haunting Atmosphere

Daina Reid immediately shrouds audiences in a tense and haunting atmosphere. Through Bonnie Elliott's stunning yet creepy cinematography, and Mark Bradshaw and Marcus Whale's nerve-racking score, Reid is able to deliver a truly creepy experience.

As previously mentioned, Run Rabbit Run relies heavily on the tropes of maternal horror films established more than 50 years ago with films like Rosemary's Baby, Carrie , and even Psycho in a way. You have the kid acting strange and creepy with the mother simultaneously dealing with psychological issues, until a shocking twist at the end. Although these tropes are clearly evident, they don't necessarily hold the film back. It's simply that the lack of originality fails to compete against the subgenre's best. The film starts incredibly strong, but as it progresses, Run Rabbit Run will begin to lose its audience slightly because its heavy reliance on the tropes.

The jump scares are predictable for the most part here, though there are a few that are quite effective. Ultimately, it's the atmosphere and tension where the movie really shines. Scattered with haunting imagery, the film will continuously make audiences feel uneasy despite its flaws. Rarely has a rabbit made us feel so uncomfortable.

Kids are creepy and irritating — especially in horror movies. From the kid in The Babadook who irritated every single person upon their first viewing but ended up having a great arc, to the kid in The Poltergeist who hauntingly says, "They're here," kids can be a great way to get audiences invested in horror, and almost always adds to a creepy and disturbing atmosphere. Let's not forget the two twins from The Shining and Goodnight Mommy , after all. Creepy stuff.

Mia, the young girl in Run Rabbit Run, follows similar developments. She suggests that all is not at it seems almost immediately, and as the film progresses, Mia becomes more hostile, confrontational, abusive, and of course creepy. She's lingering in the background, drawing images a child of her age should never be drawing, and possessing knowledge of her mother's life and trauma which she should never know. On top of that, she even fashions herself a haunting mask which feels very much like something out of Pet Sematary or Children of the Corn .

Lilly LaTorre gives a fantastic and haunting performance as Mia. Her eerie delivery enhances the tension and uncomfortable nature of the film, cementing herself among the creepiest and most irritating (in a good way) children in horror. A feat not so easily achieved.

Related: Best Horror Movies With Creepy Kids, Ranked

Sarah Snook Can Do No Wrong

Currently, Sarah Snook is among the best actors working in the business. Her performance in the hit HBO show Succession was jaw-dropping and her roles in the horror movie Jessabelle and hard hitting drama Pieces of a Woman were simply flawless. Here, she gets to flaunt her impeccable acting chops once again as Snook essentially carries the weight of this psychological horror entirely on her shoulders.

At first Snook leads us to believe that Sarah is still a somewhat level-headed, charming, and caring mother. But it's actually how the movie delves into Sarah's insecurities, grief, and past trauma is where Snook really shines. Heightening the movie's tense and haunting atmosphere, Snook's powerful performance is utterly compelling. As her character loses her grip on reality, Snook's performance becomes unpredictable and unstable, making the twist in the latter half of the film far more satisfying and believable than it should be. Snook seals the deal here.

Run Rabbit Run is now on Netflix and can be streamed below.

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‘Run Rabbit Run’ Review: Even a Feral Sarah Snook Can’t Raise Hairs in This Aussie Thriller

Ryan lattanzio, deputy editor, film.

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A predictably terrific Sarah Snook goes full-blown feral in the Australian horror movie “Run Rabbit Run,” but its final-act destination isn’t enough to justify the journey.

You might enjoy this thriller if you’ve never seen one. Directed by Daina Reid from a screenplay by Hannah Kent, “Run Rabbit Run” largely tears from the playbook of similar recent horror titles about mothers wracked by grief and trauma who are staring down supernatural events that confront them with their strained relationships with their own mothers and children (see “Relic,” which this film’s producers also helmed, and “The Babadook,” for two of the most obvious and contemporary reference points). But the screenplay has so many dizzying leaps in logic and never quite establishes the world it purports to build — are the onscreen happenings supernatural, or merely Grand Guignol freakout hallucination? Either possibility turns out to be disappointing.

Sarah Snook, trading in her Shiv Roy “Succession” old-money aesthetic for linen Banana Republic Outback chic, unbuttons as never before here as a fertility doctor also named Sarah. She lives in a South Australian suburb with her small daughter, Mia (Lily Latorre), who’s just turned seven. But her birthday has eerily coincided with the very recent death of Sarah’s own father, a tragedy she hasn’t really faced up to. Sarah’s also divorced and all but estranged from her mother Joan (Greta Scacchi), recently diagnosed with dementia and living in a nursing home.

As is the lot for such films, ominous animal symbols abound, most explicitly taking the form of a white rabbit that appears on Sarah’s doorstep on Mia’s birthday. The child is instantly enamored with the fluffy, menacing creature, and almost immediately starts showing signs of erratic agitation, poking Sarah with questions about Joan, with whom neither has much of a relationship. Mia also begins to call herself “Alice,” insisting she’s no longer herself, and eagle-eyed viewers will have figured out who Alice is quickly into the movie.

Another creature takes on insidious allegorical power, as in one scene, Sarah runs over a large bird, barely noticed it herself until Mia calls attention to the accident, and then can’t seem to find the bird beneath the car. These images are less cliched (and become more instructive later) than what inevitably becomes the dominating visual motif of Sarah and Mia’s breakdowns — which is, you guessed it, creepy scratch drawings of stick figures with eyes and limbs clawed off made by Mia at school. Sarah pores over them late into the night, worrying over a large glass of wine and dialing up her ex and his new wife, accusing them of poisoning Mia’s mind by spilling secrets of Sarah’s past.

Those secrets coalesce into a shaky schematic silhouette of a picture in the movie’s second half, where Sarah inexplicably drags Mia to her childhood home in rural Waikerie. How that makes sense as a means to quelling looming, unquenchable dread, well, that’s just one of the movie’s many lazy screenwriting detours left unexplained. Joan, who after a family visit to the nursing home now calls Mia “Alice” too, has left the place uncannily intact from when Sarah was a kid. So what better to do than relive traumas from the past to hopefully extinguish the new ones?

Mia, in a preternaturally impressive performance by the young Latorre, has grown ferociously willful toward her mother, hurling barbs at Sarah, calling her a “terrible person,” and subjecting her to outbursts that would test even the most patient mother’s temperament. Here’s where memories of “The Babadook” creep in, as in fellow Aussie Jennifer Kent’s film, we felt a stinging sympathy for its lead’s increasing ambivalence toward motherhood as her child became, well, really freaking annoying.

Snook and Latorre operate on a similar plane here, as Sarah starts to really flip, and we wonder if what she’s seeing is real or imagined or some supernatural machination. Plenty of jump scares featuring a glowering girl with long black hair in a tatty nightgown, just out of focus in the background, or flashes of blood-slathered hands or nightmares that culminate in over-the-top crashing sound design deliver “gotcha” moments. But they’re just that, with little substance.

There are a few startling images in the movie’s back half that suggest a different movie entirely, and one horror fans would like to go to. A sinisterly derelict shed on the Waikerie contains a locked cupboard you don’t want to go near. Inside the shed, suspended from the ceiling, hang rusted tools that resemble torture devices. There’s another moment involving Sarah and Mia and a pair of scissors where you can almost hear the wave of shock and perhaps even frothiness cascade across the audience: Is this suddenly the movie we’re about to get? Unfortunately not.

Ultimately, “Run Rabbit Run” is a pile-up of banal horror tropes. Director of photography Bonnie Elliott conjures some sweepingly foreboding images of the Australian landscape, even when working with a drone camera, but there’s something sleepy about the whole affair. The saving grace that makes “Rabbit” maybe worth seeing is an unkempt Sarah Snook, who goes into full, well, “Babadook” and “Black Swan” and even “Repulsion” territory in the movie’s final throwdown. But that these are reference points at all suggests the movie’s mundanity and missing original pieces. It’s the sort of thriller you’d scroll past on Netflix , maybe even drift off to, and now, very soon, you can.

“Run Rabbit Run” premiered at the 2023 Sundance Film Festival. It was acquired by Netflix out of the festival for release at a later date.

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So, Succession is over and you are craving your Sarah Snook fix. If that is you, then look no further than Netflix’s taut mother-daughter chiller Run Rabbit Run, set in rural Australia. 

Snook plays Sarah, a fertility doctor who lives with her child Mia (Lily LaTorre) after a split from the girl’s father (Damon Herriman). Lurking in the margins of Sarah’s life is her mother, whom she has deliberately cut out of her life; Joan (Greta Scacchi) has dementia and is living in a nursing home. 

Things begin to take a strange turn when Mia insists on being called Alice, the name of Sarah’s sister, who disappeared when Sarah was young. Then the mood gets downright creepy when Mia starts wearing a pink-ish rabbit mask. As the distance between the girl and her mum grows, Mia’s behaviour becomes ever more unsettling. Is she possessed? Or is Sarah losing her grip on reality? There are often times when Rub Rabbit Run gets an ‘A’ for ambiguity. 

The film is pregnant with atmosphere, with director Daina Reid (who previously helmed episodes of The Handmaid’s Tale) conjuring up an increasingly hallucinatory experience. Together, Snook and LaTorre make for an admirable force, frequently generating an electric chemistry. It’s also heartening to see Herriman play against type (see his Charles Manson in Once Upon a Time in Hollywood ) as the well-balanced father. 

Sadly, a generic script doesn’t aid the film’s overall ambitions. A little less than the sum of its parts, Run Rabbit Run is ultimately more intriguing than outright terrifying.

Run Rabbit Run is on Netflix from June 28. 

James Mottram is a freelance film journalist, author of books that dive deep into films like Die Hard and Tenet, and a regular guest on the Total Film podcast. You'll find his writings on GamesRadar+ and Total Film, and in newspapers and magazines from across the world like The Times, The Independent, The i, Metro, The National, Marie Claire, and MindFood. 

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'Run Lola Run' Is Coming Back to Theaters for 25th Anniversary

Tom Tykwer‘s classic film will return in 4K this summer.

The Big Picture

• Run Lola Run celebrates 25 years with a 4K re-release in U.S. cinemas this summer, exploring cause-and-effect relationships in a thrilling way.
• The German cult classic follows Lola as she navigates three alternate universes to save her boyfriend, showcasing innovative storytelling and a catchy soundtrack.
• Sony Pictures Classics plans a nationwide reissue of Run Lola Run in June, honoring the enduring impact of this hi-tech thriller on new generations.

Lola is set for another run as Sony Pictures Classics' Run Lola Run is set to celebrate its 25th anniversary with a 4K restored version re-releasing in the U.S. cinemas this summer. Most people will remember this mind-bending tale that gave us a thrilling look at the cause-and-effect relationship. Led by Franka Potente as Lola and written-directed by Tom Tykwer the movie became an instant cult classic thanks to its innovative experimental style and catchy soundtrack. The re-release will be timed to the movie’s original domestic release, The Hollywood Reporter reveals.

The German thriller follows Lola, an athlete who needs to obtain 100,000 Deutschmarks in twenty minutes to save the life of her boyfriend Manni, who is in trouble with the local gangsters. In a unique story structure, Tykwer constructs the story in a video game style with three alternative universes, where Lola has three lives and her actions ultimately affect the outcome. The first two universes end in tragic "game over" scenarios while Lola has to get it the third time right.

“Over the past 25 years, Run Lola Run remains one of the most enduring Sony Pictures Classics titles of all time,” the studio said in a statement. “It is as timely now as when it first appeared in theaters in 1999. Our nationwide reissue in June is a celebration of this first hi-tech thriller presented as it deserves, to be seen and reseen on the big screen, and to continue to dazzle new generations of viewers.”

‘Run Lola Run’ Was an Instant Success

The movie was an instant hit among fans and critics for its storytelling, direction and performances. It garnered many accolades as well as was also selected as Germany’s entry in Best Foreign Language Film at the Oscars, however, it was not ultimately nominated. The movie made over $22 million at the worldwide box office and became one of the highest-grossing non-English-language films ever at that time in the US and Canada. The movie has a 93 percent rating on review aggregator Rotten Tomatoes .

The movie cast Moritz Bleibtreu as Lola’s boyfriend Manni , Herbert Knaup as Lola's dad, Nina Petri as Frau Hansen, Armin Rohde as Herr Schuster, Joachim Król as Norbert von Au, and Ludger Pistor as Herr Meier. Further rounding off the cast are Suzanne von Borsody as Frau, Sebastian Schipper as Mike, Julia Lindig as Doris, Lars Rudolph as Herr Kruse, Ute Lubosch , Monica Bleibtreu , Heino Ferch , and Hans Paetsch as Narrator.

Run Lola Run will run in theatres this summer. Stay tuned to Collider for further updates.