A man joins a game show in which contestants, allowed to go anywhere in the world, are pursued by “hunters” hired to kill them.
Edgar Wright’s take on “The Running Man” is a marked departure from the 1987 Arnold Schwarzenegger film. Rather than being set within the confines of a “game zone” in a dystopian Los Angeles, Wright’s version opens the contest up to an epic, 30-day chase spanning the entire nation. Despite expanding the scope, this choice actually works against the film, dragging out the story and making it seem unnecessarily long. Both the source novel and the film revolve around Ben Richards (Glen Powell), who is forced to endure a month on the run from ruthless hunters, all while under constant surveillance by a totalitarian regime. Interestingly, the 1987 film glosses over this 30-day survival element, wrapping up its plot much faster—a decision the new movie might have been wise to emulate. Although the film features impressive action and plenty of comedic moments, its two-hour and thirteen-minute runtime is a tad long.
The story is set in a bleak future where an authoritarian government uses a violent, televised competition—THE RUNNING MAN—to keep its people under control. “Runners” try to outlast hired killers for a month, with their every move broadcast for a public hooked on spectacle and bloodshed, and larger cash prizes dangled for each day survived. Ben Richards, portrayed by Powell, is blacklisted for challenging the official narrative and ends up desperately broke, unable to find work while struggling to care for his wife Sheila (Jayme Lawson) and their sick infant. Faced with no alternatives, Ben signs up for the deadly contest, hoping any winnings—should he survive—will secure a future for his family, or at least make sure they’re taken care of if he dies trying. He and two others are hurled into this high-stakes arena, forced to rely on wits and resourcefulness as the odds stack against them. As the days tick by, Richards realizes the show is rigged and escape seems impossible, until he encounters a resistance group that reignites his fighting spirit—not just for survival, but to topple the corrupt game and its mastermind, Dan Killian (Josh Brolin). Killian, the show’s egotistical, self-serving host, manipulates the audience with rigged evidence, sadistic stunts, and constant propaganda to mask government abuses.
Wright has come a long way since his days directing “Shaun of the Dead” in 2004. While the CORNETTO TRILOGY is a highlight of his career, 2007’s “Hot Fuzz” remains my personal top pick. “The Running Man” is Wright’s most ambitious project to date: a $110 million blockbuster with a star-studded ensemble that includes Powell, Josh Brolin, Colman Domingo, Lee Pace, William H. Macy, and Michael Cera. And yet, something feels missing. After reflecting, it seems the film loses the intensity it builds in the opening act. Killian picks Ben for the show because of his rage and single-minded focus on saving his family—but once competing, the script repeatedly sacrifices Ben’s seriousness for comedic set pieces. At one point, Ben attempts a daring escape clad only in a towel, which naturally gets lost in the chaos, prompting laughs from the audience but sapping him of the gravitas he had at the start.
This tendency pops up throughout the film—not everywhere, but often enough to erode the protagonist’s edge. It reminded me uncomfortably of Spielberg’s “Indiana Jones and the Last Crusade,” where serious characters from the earlier films became caricatures. Glen Powell has all the makings of a leading man—the charm, the presence, the skill—but here I felt he wasn’t allowed to fully portray a desperate survivor fighting for his loved ones. The grit that should define him gets lost amid the humor, undermining what initially makes him so compelling.
This isn’t meant as harsh criticism of Wright or Powell—both are tremendously talented. Overall, the film offers plenty of high-octane action and well-timed jokes, and the cast delivers across the board. Wright’s direction, too, is largely impressive. Fans familiar with the 1987 movie will recognize major shifts, for better or worse, though tastes will vary. The new adaptation also gives a not-so-subtle nod to current issues: artificial intelligence, misinformation, and unchecked corporate power loom large in its dystopian landscape. In the end, “The Running Man” is a fun, action-packed ride, buoyed by energetic performances. Glen Powell might even give Tom Cruise—famed for his on-screen sprints—a run for his money here, quite literally.
In Theaters Friday, November 14th
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