Film Review – The Running Man (2025)

      The Running Man, 2025.

      Directed by Edgar Wright.

      Starring Glen Powell, Josh Brolin, Michael Cera, Colman Domingo, Lee Pace, Jayme Lawson, William H. Macy, Emilia Jones, David Zayas, Katy O’Brian, Daniel Ezra, Karl Glusman, Sean Hayes, Thalía Dudek, Matt Ramos, Martin Herlihy, George Carroll, Sandra Dickinson, Georgia Goodman, and Sophie Simnett.

      SYNOPSIS:

      A man enters a game show where contestants wander anywhere in the world while being hunted by “hunters” tasked with killing them.

      In Edgar Wright’s reimagining of The Running Man (inspired by Stephen King's novel and co-written with Michael Bacall), the dystopian contestants, referred to as 'runners,' fall into three categories: one is a clueless individual making poor choices and essentially offering their life to a Hunter sniper, another is a hedonist aiming to enjoy life to the fullest before an explosive end while rebelling against the system, and the final type is a principled individual fighting for survival with a noble cause linked to the $1 billion cash reward, becoming a cultural icon and must-see TV star due to their elusiveness (similar to the excitement surrounding a contestant reaching the million-dollar question on Who Wants to Be a Millionaire, but with a bloodthirsty twist), all while trying to survive the full 30 days.

      The narrative naturally revolves around the character depicted by emerging action star Glen Powell, who personifies the third type mentioned above. There’s a sense that the other two contestants (Martin Herlihy and Katy O’Brian) could better align with Edgar Wright’s unique style as a filmmaker; at the very least, the actors suit their roles. However, Powell’s portrayal of the angriest man in the world is somewhat distracting (one character calls him this early on), despite his charming demeanor paired with a powerful physique. When disgruntled slum inhabitant Ben Richards (Powell) shows anger, it feels forced and unconvincing, as though it strays far from his true character. While this aspect is part of acting, believability is crucial for selling both the character and the story.

      Ben has legitimate reasons for his anger, chiefly his struggle to find work after being fired due to his hot-tempered nature during a confrontation with his manager, to whom he brought his infant daughter to minimize his aggression. In retrospect, this detail seems like a contrived effort by Edgar Wright to lend authenticity to Ben’s anger. Nevertheless, Ben's need for employment is intensified by his daughter’s illness, compelling his wife, Sheila (Jayme Lawson), to take on multiple shifts at a nightclub, where she frequently encounters inappropriate patrons.

      Ben is desperate but not desperate enough to initially join The Running Man. Instead, the filmmakers try to build this world (which blends futuristic elements with a lack of modern conveniences like cell phones and live streaming for conveniently plot-related reasons) by introducing other less hazardous, but more humiliating, prize-money game shows. The oppressive regime provides Ben with a series of awkward interactions that seem to lead him toward joining The Running Man. Ratings-hungry network executive Dan Killian (Josh Brolin) manages to manipulate him into signing up within moments.

      Fortunately, the network has the consideration to place Ben’s wife and daughter in a sort of witness protection for the duration of the game or until his life ends (whichever comes first). Strangely, neither has any other family members, another convenient plot element. After that, the rules are explained, which essentially are a 12-hour head start, a requirement to use a special recording device to submit 10 minutes of footage daily as proof of survival, monetary rewards for citizens who film or report on the contestants' whereabouts, and the hunters, who are relentless in their pursuit of killing them. Among them is a masked Hunter, noted for being highly efficient.

      What follows is an episodic journey featuring various side characters portrayed by recognizable actors and frequent collaborators of Edgar Wright (including William H. Macy and Michael Cera), as Ben flees, often using lazy disguises that don’t quite rival the iconic Clark Kent/Superman transformations. This adds to the distractions, with supporting characters given underdeveloped roles that are easily forgotten, prompting speculation that this might have originally been intended as a TV series.

      Amid all this, there’s a refined deep-fake subplot demonstrating the network’s ability (led by its quirky game show host played by Colman Domingo) to manipulate images and voices, transforming Ben’s defiant statements (he initially only cares for his family but gradually becomes politically aware through encounters with those opposing the network who want to help him survive) into edited footage that turns the public against him. This provokes the audience to continually question the authenticity of what they see on this TV