One Way: Claustrophobic Thriller Thrives on Tension

The opening shot of One Way (2022) is a close-up of Freddy’s hand, blood seeping through his shirt as he clutches a bag of cash. It’s a stark, visceral image that sets the tone for Andrew Baird’s action thriller: no frills, just desperation. This isn’t a film about grandeur or spectacle; it’s about survival, and the camerawork reflects that. The handheld shots and tight framing create an immediate sense of unease, pulling the audience into Freddy’s frantic world.

Baird keeps the story tightly focused: Freddy (Machine Gun Kelly), freshly robbed from his crime boss Vic (Drea de Matteo) and nursing a potentially fatal wound, hops onto a bus in Georgia to escape. The confined setting—a bus in a rain-soaked night—creates an intense, claustrophobic atmosphere. Baird makes excellent use of this limitation, crafting tense interactions between Freddy and the other passengers, each scene ratcheting up the pressure. The rain-lashed windows and dim lighting amplify the sense of isolation and urgency.

The film’s strength lies in its ability to generate suspense through simplicity. There are no elaborate action set pieces or explosive car chases; instead, Baird relies on quiet moments of tension. A standout sequence involves Freddy trying to tend to his wound in the cramped bathroom of the bus, the camera lingering on the grimace of pain on his face. It’s a small moment, but it’s powerful precisely because it feels real.

Machine Gun Kelly delivers a committed performance as Freddy, conveying vulnerability beneath his tough-guy exterior. His portrayal is nuanced, balancing desperation with moments of dark humor. When Freddy quips about his situation, there’s an underlying sadness to his words, a recognition that he might not make it out alive. This depth makes Freddy a compelling protagonist, even when the plot veers into familiar territory.

Storm Reid shines as Rachel, a fellow passenger who becomes an unlikely ally. Her performance is understated but powerful, grounding the film’s emotional core. The chemistry between Kelly and Reid is palpable, making their interactions some of the most engaging in the film. Drea de Matteo brings gravitas to her role as Vic, Freddy’s former boss, while Kevin Bacon adds depth as Fred Sr., Freddy’s estranged father. Their brief but impactful scenes add layers to Freddy’s character and motivations.

However, the film stumbles in its pacing. The first act is gripping, but the second half falters with predictable plot twists and underdeveloped supporting characters. The dialogue occasionally veers into cliché, particularly during moments of exposition. Additionally, some action sequences feel rushed, lacking the meticulous choreography seen in comparable thrillers.

Baird’s direction is competent, but One Way never quite elevates beyond its genre conventions. The film’s originality lies more in its setting than its narrative or character arcs. While it fits comfortably within the action-thriller mold, it doesn’t push boundaries or offer fresh insights. Comparisons to films like The Fugitive or Speed are inevitable, but One Way lacks the innovative storytelling and memorable set pieces that define those classics.

That said, One Way has its moments of brilliance. The use of sound design is particularly noteworthy. The constant hum of the bus engine and the rhythmic patter of rain on the windows create a backdrop of tension that never lets up. The score, when it appears, is subtle but effective, heightening the film’s emotional beats without overpowering them.

Thematically, One Way explores the idea of redemption and the consequences of one’s actions. Freddy’s journey is not just about escape; it’s about confronting his past and seeking forgiveness. This introspective angle adds depth to what could have been a straightforward action thriller. The film also touches on themes of family and loyalty, particularly in the scenes between Freddy and his father.

In terms of visual style, Baird opts for a gritty, realistic aesthetic. The cinematography is stark, with a muted color palette that emphasizes the bleakness of Freddy’s situation. The use of natural lighting and practical effects adds to the film’s authenticity, making the action feel more immediate and visceral.

Ultimately, One Way is a solid if unremarkable entry in the action-thriller genre. It’s a film that will appeal to fans of gritty, character-driven stories but may leave those looking for innovative storytelling or groundbreaking action somewhat disappointed. The performances are strong, particularly from Machine Gun Kelly and Storm Reid, and the direction is competent. However, the predictable plot and underdeveloped supporting characters prevent it from standing out in a crowded field.

One Way is for viewers who enjoy tense, character-driven thrillers with a focus on survival and redemption. It’s not a film that will redefine the genre, but it offers enough compelling moments to keep audiences engaged.