When Jess (Hayley Erin) goes on the run from a mysterious organisation, they send special agent Elsa (Sonya Walger) to pursue her. Knowing people called Elsa’s distaste for letting things go, Jess has to avoid her like a parent at Disneyland trying to get their kids to the carpark.

There are echoes of 2011’s Hanna in this cat-and-mouse-meets-sci-fi thriller, with the novel twist that the hunter has recently been diagnosed with ALS. And there’s a reason no one has used this hook before, since the motor neuron disease means Elsa struggles to walk or hold a gun. A cold may not have bothered her but these symptoms prove a hindrance to bringing in Jess, which we are told is paramount, but apparently not important enough to put a second agent on the case.

Halfway through the movie we learn why it is so essential, and suddenly Jess’ character makes no sense either. Without giving away the reveal, the runaway is so oblivious as to what is happening around her it becomes ludicrous. Yet the film takes itself completely seriously, and worse, as though it is deeply profound. In reality its stupid plot developments and misplaced character choices would have worked better as a black comedy, or at least a Those Who Wish Me Dead-style pulpfest.

Instead it is given a grey, televisual appearance that washes out the solid performances and horror moments, with none of the kinetic energy Joe Wright brought to Hanna. The way debut writer/director John Rosman hammers home his meaning is hamfisted to the point of insensitivity, and his attempt at a slow-burner is undermined by making Jess such a slow learner. Ultimately New Life is well intentioned, but its flaws prove fatal.