Film Review – Runner (2026)

      **Runner, 2026**

      Directed by Scott Waugh.

      Featuring Alan Ritchson, Owen Wilson, Rodrigo Santoro, Leila George, Adriana Barraza, Peta Sergeant, Scarlett Crabtree, Geraldine Hakewill, Kate Box, Goran D. Kleut, Cecilia Toussaint, and Tommy Archer.

      **SYNOPSIS:**

      A former soldier and his unexpected partner find themselves hunted by a merciless cartel as they rush to complete a vital medical delivery and save a young girl’s life.

      The action-thriller *Runner* may signify a pivotal moment for Angel Studios. Surprisingly, this relentless barrage of violence that occasionally flirts with an R rating is being released by a distributor rooted in Christian conservative values. One can only speculate that they acquired this film to feature Alan Ritchson as the action-star representative of their brand, especially before he embarks on a response to everything associated with the MAGA ideology.

      The situation is even more ironic considering that the practicing Christian they likely included in their purchase may not align with the film’s political leanings. More significantly, Scott Waugh’s film (from a script by Miles Hubley and Tommy White) along with Alan Ritchson embodies what that representation should look like. This isn't to suggest *Runner* promotes Christian teachings, biblical ideals, jingoism, or specific Republican values; rather, it resembles the closest modern equivalent in Hollywood to an Arnold Schwarzenegger-esque hero, utilizing his imposing physique for what could be viewed as a morally commendable cause as he mercilessly battles a pursuing cartel to deliver a liver (stored on ice) to a dying girl, at a time when the country has a president facing serious allegations related to children’s welfare. If conservative ideals are fundamentally about safeguarding youth, this film seems to exist to expose the hypocrisy surrounding that notion and provide a hero that resonates with them.

      *Runner* is a production from a Christian-oriented brand featuring a genuine and admirable representation of Christianity, which often electrifies viewers with its intensity and unabashed violence. The film itself is a thrilling spectacle bursting with continuous action (its entire second half consists solely of action sequences), and pondering the distributor's thoughts on both the film and its star is equally intriguing. Is Angel concerned about alienating their MAGA audience, or are they excited about producing a legitimate feature with a true Christian leading man making an impactful performance that could attract real cinema enthusiasts?

      To be fair, this isn’t groundbreaking storytelling. The ex-soldier Hank Malone (Alan Ritchson) is mourning the death of his young daughter from leukemia and has also lost his first family to alcoholism, a result of grappling with both witnessing that disease and feeling guilt over his past in Afghanistan. Now working as a high-end delivery contractor in Australia (with a history that includes encountering a former love in Germany), Hank accepts jobs over the phone from his handler, but not before attending an AA meeting where he receives a sobriety token.

      Afterward, he finds himself with an endangered parrot that a feuding couple wants to abandon, intending to deliver it to animal control until a last-minute, urgent assignment comes in: picking up a package from the local airport and delivering it to a hospital. What should have been a straightforward task is anything but. The package (the aforementioned liver) is accompanied by donor Ben Bishop, portrayed by Owen Wilson, who brings his familiar quick-witted, talkative humor. He insists on tagging along to ensure the package remains properly cooled during transport, becoming the sidekick who immediately annoys the serious, no-nonsense protagonist.

      Initially, Ben's character feels as irritating to the audience as he does to Hank, seemingly inserted solely to create danger or offer comedic relief in tense moments. While this dynamic isn’t particularly necessary, the developing friendship between them reveals more depth and aids Hank in addressing some of his emotional burdens. Owen Wilson manages to infuse humor into the duo's mismatched pairing, delivering several laughs with his impeccable comedic timing.

      Furthermore, while it might have been preferable if the antagonistic cartel, led by Rodrigo Santoro's Damián Zaldívar (who is also after the liver, but not for financial gain), weren’t portrayed as generic gangster stereotypes, *Runner* effectively places them in intense situations that showcase Hank's resourcefulness and strength. The film vividly illustrates how virtually anything can turn into a weapon in the hands of Alan Ritchson, who can even overpower physical obstacles with his formidable physique. It’s almost expected that the plot will lead to the hospital, where the filmmakers unleash a series of fight scenes that wildly devastate the environment with thrilling impact and impressive choreography. Throughout the action, Hank is depicted as a weapon; at one point, he reassures the anxious mother that he’s not someone people can easily mess with. The ensuing action sequences certainly substantiate that claim.

      **Flickering Myth Rating –