Run From Hell (2019) – Evil Has a Head Start, but She’s Not Slowing Down

You can’t outrun Hell — but you sure as hell can make it chase you

Run From Hell (2019) is a ferocious, high-stakes horror-action hybrid that grabs you by the throat and never lets go. Set in the sweltering heat of the American Southwest, this under-the-radar cult hit blends grindhouse grit with supernatural fury, following a woman on the run not just from a haunted past — but from Hell itself.

The story centers on Lila Monroe (Zoë Kravitz), a drifter with a criminal record and a cursed secret. After narrowly escaping a massacre at a backwoods cult compound, she becomes the unwilling host of an ancient demonic force. But this isn’t your typical possession tale — the demon doesn’t want to control her. It wants her soul back. And it’s hunting her across endless highways, with hellhounds, spectral bounty hunters, and a charismatic cult leader (Walton Goggins) hot on her trail.

Director Ana Lily Amirpour (A Girl Walks Home Alone at Night) brings her signature offbeat style to the film, fusing neon-drenched visuals with blood-slicked violence and haunting desert landscapes. Every location — from run-down gas stations to eerie ghost towns — oozes atmosphere, while the pulsating synth-metal soundtrack drives the tension like a heartbeat on the edge of panic.

But Run From Hell isn’t just spectacle. At its core is Lila, a woman fighting not just for survival, but for ownership of her own damnation. Zoë Kravitz delivers a fierce, wounded, defiant performance — more anti-hero than victim — as she turns the tables on her supernatural pursuers. The final act, set in an abandoned chapel at the border between life and afterlife, erupts into a visceral, symbolic showdown between destiny and defiance.

A blood-soaked road movie with teeth, Run From Hell redefines escape: it’s not just about outrunning evil — it’s about facing it head-on, tire tracks and all.