Two things you can say for the Sam Raimi-produced thriller “Don’t Move” is that it sprints by — thrillers on the move have to — and that it’s part of a sub-genre that has proven a goldmine in decades past — a young woman imperiled and in the woods, chased by a psychotic.

But this isn’t “Rust Creek” or even “Alone,” and it wasn’t so much directed by two unknowns and scripted by two lesser-knowns. It was “produced,” a product, made to Netflix’s order and perhaps even Netflix’s specs. “Don’t Move” takes a while to make its first wrong moves, but when it does, it tumbles right off a cliff.

Which is how it begins — a morose young mother (former child star Kelsey Asbille of “One Tree Hill,” “Wind River” and TV’s “Yellowstone”) leaves her husband in bed and drives to the parkland cliff where her little boy fell to his death. Iris is ready to follow him into the abyss.

“The world takes what it wants. I wish it had taken me instead.”

But “Richard” (Finn Wittrock of “Unbroken” and TV’s “American Horror Story”) intervenes. He expresses sympathy, tells her about the Big Mistake in his life and talks her out of it. It’s only in the parking lot, where he’s parked entirely too close to her Prius for her to be able to get out, that she figures out she’s in mortal danger.

Waking up from being tased, she racks her brain for escape options. Hitting the emergency button on her smart watch doesn’t do it. And her driver, “Richard” (“Why do you keep calling me that?”) has all his bases covered.

“Please, go through the process. Everybody does.”

He’s sure she’s trapped. She remembers she never goes anywhere without a Swiss Army knife.

And we’re off — a petite, willowy woman with a lot of fight in her and a smirking, chiseled villain who appears to have all the advantages. That syringe he injected her with? It will immobilize her in a couple of minutes. It’ll last for an hour.

“I hope you find a good place to hide,” he bellows as she sprints off.

The problem-solving in this real-time T.J. Simfel/David White screenplay isn’t bad, just obvious. The foreshadowing is Screenwriting 101 level, the waypoints of this attempted escape pre-ordained, the finale over-the-top in ways that would never pass a medical board’s “fatal injury” review.

But Asbille is plucky and the pacing atones for some of the script’s sins.

What are they? You can contrive, but don’t give away your contrivances. Under-explain, don’t over-explain. Let the villain’s ploys be surprises, and don’t telegraph your victim’s counter-moves. Don’t introduce strangers into the mix just to kill them off, the way ALL these movies do. And keep the clock ticking in your “ticking clock” thriller.

“Don’t Move” avoids some pitfalls and tumbles into others, and whenever it does, it abandons suspense and just feels silly.

That’s how you end up with a thriller that doesn’t feel “real,” it just feels processed.

Rating: R, violence, profanity

Cast: Kelsey Asbille, Finn Wittrock and Moray Treadwell.

Credits: Directed by Brian Netto and Adam Schindler, scripted by T.J. Simfel and David White. A Netflix release.

Running time: 1:32