The Running Man: An Adrenaline-Addicted Thrill Ride

Nailing the Audition

The network is about to go live and the cameras are ready to roll, which can only mean one thing: one of the most acclaimed authors of modern times is back on the big screen with an all-new film adaptation! The Running Man is based on the dystopian novel of the same name by acclaimed writer Stephen King in his fourth book-to-film adaptation this year – following The Monkey, The Life of Chuck, and The Long Walk. In fact, this is not the first time this science-fiction story has been brought to the big screen, being previously adapted into a 1987 action film starring Arnold Schwarzenegger. The original has gained a cult following in the decades since its release, but the biggest detracting point of it was how it did not directly resemble the plot of the novel. 

Now, a new version of The Running Man has graced the silver screen and has generally been considered more faithful to the book. But did sticking to the source material prove to be a successful maneuver? Judging by its generally positive audience reception, improved reviews from critics, and weekend box office intake of $16 million, the film has already found a sizable audience. In the days leading up to when I saw the film, I hoped that I could join that crowd as well. 

The concept of The Running Man is one of the most fascinating in science-fiction, as it takes something generally associated with joy and an uplifting nature – in this case, game shows – and flips it on its head to give it a deadly twist. Plus, though I do enjoy the original Schwarzenegger film, I will admit that it is very much a product of its time, especially with the emphasis on corny one-liners and over-the-top delivery. As such, I had hope that this new adaptation could tell a story which perfectly mixes hyperbole with reality, and make for a tensely entertaining ride.

In classic me fashion, I turned into a running man myself as I headed to Cinépolis Luxury Cinemas Mansfield and booked a ticket to the latest King outing. As the show wrapped production, I was left with one question: was this movie worth celebrating for its merits, or should audiences have run away from it as quickly as possible?

Broadcasting Live

Set in the near future, The Running Man focuses on a man named Ben Richards, who lives with his wife and infant daughter in a dystopian state. Out of desperation for money and a better well-being for his family, he auditions to join a game show to win a sum of cash. Richards is ultimately selected to join The Running Man, a popular but deadly show which sees contestants being tracked down by hunters who are out to kill them around the world. With a billion dollar prize awaiting him if he survives, Richards must evade the hunters and survive for 30 days or else die on live television. 

Directed by Edgar Wright – of Baby Driver, Shaun of the Dead, and Scott Pilgrim vs. the World – the film features a massive ensemble including Glen Powell, Josh Brolin, Michael Cera, Colman Domingo, Lee Pace, Jayme Lawson, and William H. Macy among others. 

I found myself greatly entertained by this movie, and found it to be another strong King adaptation from this year. In fact, in many regards, I actually preferred this film to the 1987 original, particularly in how it tackled its story and tone. It took itself way more seriously than its predecessor, opting to focus on telling an engaging plot with high stakes rather than look for excuses to sneak in another one-liner. Though that approach may work for a Schwarzenegger movie, I’m glad this reimagining emphasized the intensity of the conflict, as it made the viewing experience all the more captivating. 

The aspect of the film that surprised me the most is how the screenplay was actually unpredictable for the most part. Sure, there are a few foreseeable elements and plot points, but the overall storytelling is effective in how it showcases its stakes. In this world, nothing is as it seems, as anyone could strike at any moment, while other sci-fi elements – including how it utilizes its environments and technology like video deepfakes – kept me guessing the whole way through as I questioned what was reality and what was fantasy. This also adds an extra layer of intensity to the story, as I was on the edge of my seat for the entire runtime, my heart even pounding out of my chest during the third act. 

Despite the fantastic tension of the conclusive act, this is also where I found the most fault in the writing. Not because of a lack of ideas or ridiculously exaggerated action, but rather due to the pacing. The film’s finale felt rather padded, as there were multiple instances where it seemed like it was going to end, only for the film to keep going. I usually wouldn’t have much of an issue with this, but the movie heavily implements exposition into its finale, to the point where it felt more padded and monotonous. Though the ending itself was not without great craftsmanship, I do wish the film devoted less time to exposition and focused more on the events themselves.

The Runners

Bringing this game show of death to life is a fantastic cast, who are all greatly committed to their characters. Whether it’s in their personality, physicality, or both, no performer gives a stale or one-note performance in this movie, further adding to the engagement of the story.

Without question, the most valuable player of this show is Powell as the main protagonist, Richards. Known for his work in movies like Top Gun: Maverick and Twisters, Powell is no stranger to portraying characters who balance out traits of cockiness, determination, and care. As such, he was the perfect performer to portray this protagonist, particularly in his personality and line delivery. 

There are many moments where he’ll act sarcastic and deadpan, adding a refreshing trail of humor to the intense action, but there are also instances where he implements more emotional traits – including uncertainty and rage. His committed personality is a perfect fit for Richards, especially as the conflict develops and he faces grand turmoil. On top of that, his physicality and stunt work is a great mesh with the movie’s action sequences, as he runs, jumps, and fights with a variety of weapons and combat. 

The supporting cast also do greatly in their roles, each with their unique personality traits to help them stand out. Some highlight performances include Brolin as Running Man producer Dan Killian – an antagonist portrayed with a perfect level of menace and intimidation – and Cera, who plays the rebellious Elton Parrakis with traits of quick-thinking and occasional wit. That said, many of the side characters do not get as much time in the spotlight, thus making them fairly easy to forget about, especially with how many characters are in this movie. 

Much of the supporting cast is introduced and developed in a similar fashion: they have a few interactions with Richards before exiting the movie abruptly. Though this approach does allow for more characters to enter the spotlight, it ultimately leads to much of the supporting ensemble feeling wasted, underutilized, and underdeveloped. Even the main villain, Killian, doesn’t get as much screen presence as I hoped, primarily playing a role in the second half. 

This ultimately leads to Richards being the only character with a substantial and worthwhile arc. Though he is a very entertaining character, I do wish the film explored more of its supporting characters – whether it be their past, motivations, or relationship to The Running Man show – to give them more of an impact rather than just entering and leaving so unceremoniously. 

30 Days, One Chance

The majority of this movie’s entertainment value lies in its action sequences, of which there are many. These stood out as the highlight of the film for me, as they provide consistently high stakes while remaining unique in their setting and circumstances. There is no shortage in the environments this movie explores or the means of combat in the fighting itself, making for an efficiently engaging thrill ride which grabs viewers at the start and does not let go until the finale.

Under Wright’s direction, the action is very well shot and choreographed, particularly in one scene towards the end of the film – teased in the trailers – which sees Richards fighting hunters on an airborne plane. Other standouts include a vehicle chase and a tense escape from a massive explosion, each with their own creative setups and implementation of both thrills and occasional humor from Powell’s performance. Mixed with creative editing techniques like unbroken long takes and wide shots, it fantastically shows the scope of this dystopian state, while placing audiences directly into the shoes of The Running Man’s contestants. 

The concept of surviving for 30 days while the world tracks you down is one that’s frightening to think about, especially in how anyone can attack at any given moment. This film does not shy away from the intensity of the situation, but still finds a way to keep it entertaining, making for an appropriately balanced pace which moves fairly quickly, but not so much to where it’s hard to keep track of what’s going on. Even in the slower moments where Richards meets new characters or communicates with the network the show is broadcast on, Powell’s energy and screen presence keep the runtime worthwhile, even with the padded conclusion. 

Tying everything together is the visual style and setting, which is absolutely stunning to the eyes. In this world, there is an emphasis on advanced technology and interactive elements – including drone-like video cameras and mailboxes which fly to their destination. In all scenarios, the visuals and cinematography are beautiful, with numerous skyscrapers towering over cities and open fields and roads allowing for great opportunities in vehicular sequences. 

There is an impeccable sense of scope throughout this entire feature, making it one of the most stylized films in Wright’s filmography – his prior works often implement fantastical elements into real-world locations. His vision for this movie perfectly illustrates a modernized dystopian wasteland which is rampant with danger, especially for Running Man contestants, but gloriously vibrant in its appearance. 

The Final Lap

Overall, despite an overabundance of characters and padding throughout the third act, The Running Man is an absolute blast thanks to its talented cast, engaging action, creative visuals, unpredictable screenplay, and balance of humor and drama. This film stands out as another strong adaptation of a King story, and even an improvement from the 1987 film in many regards, particularly in writing. 

If you’re a fan of the action genre, Wright’s previous films, or previous adaptations of King’s work – including the original film – I’d highly advise running to your local theater to check it out. The Running Man is currently playing in theaters all across the country, including Route 57’s own Cinépolis Luxury Cinemas. If you want to see a dystopian story with the perfect mix of entertainment and intensity, this is a perfect film to satisfy your desires.

It may not rank as highly as some of Wright’s previous films, but as far as King adaptations go, this is a greatly enjoyable picture worthy of achieving the grand prize. 

My Rating