The Running Man Meanders His Way Toward a Middling Sci-fi Destination (Review)

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Imagine a future where Ben Richards (Glenn Powell) is just trying to support his family. After losing his job and being unfairly treated by his former employers, he’s forced to compete on dangerous game shows for money. He tries to avoid the most brutal one, The Running Man, but his temper makes him the perfect target. Suddenly, he’s being hunted across the country as entertainment for a bloodthirsty audience, and he begins to see just how corrupt the whole system is.

Director Edgar Wright is known for his fast-paced, visually dynamic films, a style that’s been hard for others to copy. This energy was evident from his early work like Shaun of the Dead, continued through films like Hot Fuzz and Scott Pilgrim vs. The World, and seemed to reach its height with Baby Driver. While Last Night in Soho attempted his signature style, it suffered from a confusing story. Now, with The Running Man, Wright’s trademark flair appears inconsistently, though the performance by lead actor Powell is still captivating.

As a big fan of Edgar Wright, I really loved how he handled the action in this movie when he leaned into his strengths. There’s a car chase, shot from inside the trunk with the main character, that’s just pure energy – exactly what I expect from him. Another standout sequence follows the hero running through a hotel, filmed like one of the broadcasts from the show within the movie. Those moments felt like classic Wright. Unfortunately, not all the action was as strong. A few scenes felt
different. They seemed to be shot by multiple teams, and lost that clear visual flow and that signature Wright energy that makes his action so special. Thankfully, those weaker moments weren’t too common, but they definitely stood out.

Rating: 3 out of 5

PROS CONS
Good performances (especially by supporting actors) Inconsistent tone
Succinct worldbuilding Satire largely fails
Unique action scenes Ending feels disconnected

Glenn Powell Carries The Running Man, Even if It Stumbles Frequently

As a fan, I’ve always thought Arnold Schwarzenegger’s character, Ben Richards, starts The Running Man as this incredibly angry guy – like, already at his absolute limit. It’s almost over the top! And honestly, that’s kind of a problem with the whole movie – it’s a little uneven. Throughout the film, Arnold has to keep finding ways to seem even more furious, even though he’s already at 10 from the start. Thankfully, the movie is filled with a lot of great supporting actors who pop in and out, either helping him or trying to take him down, and they really make the most of their screen time.

Josh Brolin, playing the show’s creator Dan Killian, mostly interacts with the protagonist through a screen. He could have easily delivered a flat performance, but Brolin convincingly portrays Killian’s smarmy personality with a constant, unsettling smile, seemingly drawing on his own experiences in Hollywood. Colman Domingo as Bobby T, the show’s host, consistently delivers the film’s best jokes. Despite strong performances from both actors, they feel somewhat limited – each plays their character with essentially one consistent approach, making them feel a little flat. The 1987 version of The Running Man at least combined these two roles into one, and Richard Dawson really leaned into the over-the-top, theatrical performance.

Jayme Lawson (from The Batman) plays Sheila Richards, Ben’s wife, but her character doesn’t have much screen time. Despite this, Lawson delivers a compelling performance, effectively portraying the desperation of their circumstances. Daniel Ezra (known for All American) appears as Bradley Throckmorton, who helps Richards escape Boston after causing significant destruction. Ezra is a standout addition to The Running Man, surprisingly revealed as The Aposyle, a masked villain who exposes the deceptive editing practices of The Network. This allows Wright to inject some personality into the otherwise bleak world.

The Running Man’s Satire Falls Face First

The movie The Running Man, based on the Stephen King novel, was written by Michael Bacall and Wright, the team behind Scott Pilgrim vs. The World. As you’d expect, it’s full of satire, poking fun at pretty much everything. However, much of the satire doesn’t offer anything new or insightful. The jokes often feel too close to reality to be truly effective. For example, a recurring element called The Americanos, meant to parody The Kardashians, is almost identical to the real show. Many of the film’s attempts at satire don’t really make a point, simply highlighting how irritating or bad something is without offering any deeper commentary.

Much of the satire in The Running Man feels overdone and predictable, offering shallow commentary on commercialism and media control. RoboCop, released in 1987, tackled more complex themes with greater impact, and it came out several months before the Schwarzenegger version of The Running Man. This new film is another adaptation of Stephen King’s story, not a remake of the original movie.

The film The Running Man has a strange flaw: it criticizes certain ideas while simultaneously falling into the same traps. This is noticeable in its use of fictional brands throughout, immediately followed by Michael Cera offering a real-brand Monster Energy drink while explaining the dangers of government control. Even as a comedic moment, it feels weak and undermines the film’s satirical message, creating a confusing and ineffective critique.

The Running Man’s Finale Fails to Connect

One of the most disappointing things about The Running Man is how it dismisses characters who have strong beliefs. The movie seems to punish anyone who dares to hope for something better, often using their ideals as a joke. Very few characters actually try to oppose the system, and even among those, Michael Cera’s Elton stands out as particularly impactful. Cera makes the most of his screen time, becoming a memorable part of the film despite the over-the-top nature of most other characters. While The Running Man needs to build to its exciting conclusion, it doesn’t need to be so consistently negative about people who have a sense of right and wrong.

The ending of The Running Man really highlights the show’s problems with pacing and storytelling. While the final action sequence finally lets director Wright showcase his creative vision, the way the story wraps up feels awkward and forced. The show abruptly pauses so a character can explain what happens after the action, and it delivers information to the audience in a clumsy and unnecessary way. While this approach fits with how the show portrays its enemies, it ultimately feels like a YouTuber interrupting the ending to simply explain everything, which is frustrating to watch.

While The Running Man is generally enjoyable, it doesn’t quite reach the high standard set by director Edgar Wright’s other films. It begins to feel less cohesive upon closer inspection, making it one of his weaker efforts. However, even an average film from Wright is better than most big-budget studio releases, though it’s still a bit of a letdown considering his impressive track record.

The Running Man opens in theaters on Friday, November 14th.

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2025-11-11 22:14