By: Lana K. Wilson-Combs
DIRECTOR EDGAR WRIGHT REIMAGINES "THE RUNNING MAN"
"The Running Man," from director and co-producer
Edgar Wright ("The Chain"), has been reimagined.
Wright, who co-wrote this new
Stephen King adaptation with
Michael Bacall ("Wing Man"), trades the neon-soaked dystopia of the 1987 Arnold Schwarzenegger classic for something more intimate, and in many ways, far more unsettling.
In stripping the over-the-top spectacle of the original, Wright zeroes in on the psychological toll of entertainment-driven violence, crafting a film that feels less like a futuristic fantasy and more like an uncomfortably plausible extension of today's reality-TV world.
Glen Powell (TV's "Chad Powers") anchors the film with a sharp, layered performance. Powell steps into the Ben Richards character not as a wrongfully accused prisoner forced into a televised death match, but as an ordinary man driven to desperation. His young daughter's illness and the promise of a televised billion-dollar prize payout contest--providing he survives it--pushes him into the lethal game of "The Running Man," a reality competition created by egotistical producer Dan Killian (Josh Brolin, "Weapons") and flamboyant host "Bobby T" (a perfect Colman Domingo, "Wicked: For Good" and "Michael"), that blurs the line between survival and celebrity.
It's a different kind of tragedy, rooted not in punishment, but in the crushing economics of modern life.
Ben Richards isn't merely rebelling against a broken system; he is a man convinced he can outmaneuver it. That dangerous confidence gives the story much of its bite. His wife Shiela's (Jayme Lawson, "Sinners") horror at his choice grounds the film emotionally, and underscores the moral cost of turning human suffering into prime-time entertainment.
And while Powell commands the spotlight, the film is bolstered by its supporting cast, including Emilia Jones (TV's "Task") as the reluctant hostage who becomes Richards' unexpected ally, and William H. Macy ("Soul on Fire"), Michael Cera ("The Phoenician Scheme"), and Daniel Eza (TV's "All American"), who all add dimension as the small network of helpers trying to keep Richards one step ahead of the hunters and their ruthless leader, (Lee Pace, TV's "Foundation").
Wright and Bacall's screenplay take pointed aim at the manufactured authenticity of modern reality shows-- the editing, the manipulation, the audience complicity.
Here, the lethal game show is no longer just cartoonish government propaganda; it's embedded in influencer culture, algorithmic engagement, and the public's voracious appetite for "real-time" disaster entertainment.
"The Running Man" is at its strongest when it interrogates how spectacle becomes currency, and how viewers become not just consumers but participants in cruelty.
Wright cleverly intercuts the action with faux behind-the-scenes confessionals and live-commentary feeds, a tactic that starts out funny before evolving into something more disturbing.
Visually, "The Running Man" is undeniably striking. It's a full-throttle popcorn pleaser that still finds room for clever, affectionate nods to the original film.
Oh, and using the Spencer Davis Group/Jackie Edwards classic song "Keep on Running" is the cherry on top, a perfectly cheeky musical touch that seals the movie's playful spirit.
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Watch This Trailer For
"THE RUNNING MAN"
