Due to his vast amount of novels, audiences are used to seeing adaptations of Stephen King’s works, but 2025 has been rife for it. The newest to hit the big screen is The Running Man, not only an adaptation of the much-loved book, but the second adaptation of this story to occur after 1987’s edition starring action star Arnold Schwarzenegger. The story follows a working-class man named Ben, this time played by Glen Powell (Top Gun: Maverick), who is so desperate to save his sick daughter that he enters a deadly competition game as a last resort. Ben’s defiance, instincts and grit turn him into an unexpected fan favourite, and a threat to the entire system. As the ratings of the show skyrocket, so does the danger. With action aplenty and competent performances from a stellar cast headed by Powell, The Running Man proposes a story full of energy and high stakes, yet is let down by repetitive messaging and a clunky finale.
In case he hadn’t made it obvious already, The Running Man further proves that Glen Powell has all the calibre and talent required to lead not just any movie, but an action movie. Charismatic and energetic from start to finish, his natural likability helps us to root for his character, and he’s also good at portraying emotion when required. Ben is a loving individual despite his angry exterior, furious at the system and only wanting the best for his family. Powell balances this with a hilarious, rebellious nature that helps him flourish in the TV competition he takes part in. A very competent cast are supporting him, including a scene-stealing Colman Domingo (Sing Sing) as game show host, Katy O’Brian (Twisters) as crazy competition co-star Laughlin, and a masked Lee Pace (Bodies Bodies Bodies) as head hunter Evan McCone. None of the side characters get much depth or time to shine due to the plots focus on Powell’s Ben, but they all do their best with what they’re given, and a stellar cast is confidently put before us. Jayme Lawson (Sinners) and Josh Brolin (Dune) are also notable, despite again being underutilized.
The story is a bit of a mixed bag. The central plot surrounding a man entering a deadly competition to secure money for his family is really compelling, and allows for plenty of tense action, chase sequences and cat-and-mouse games to pull through. At its best when smaller scale, the most compelling scenes feature Powell snaking in and out of buildings, flying down elevator shafts after unleashing grenades and convincing passers-by to help him survive, rather than turn him in for money of their own. With the Hunters on his tail, it can be particularly thrilling. This action is balanced with plenty of social commentary throughout, surrounding totalitarianism, societal control, media manipulation and oppression. Though both the action and themes present are promising and provide a wickedly entertaining first half, by the time we enter that second hour, things start to come to a halt. As soon as Ben Richards leaves the city streets and continues his fight for survival elsewhere, including a plane mid-flight and a heavily rigged building, it becomes too frantic and clunky. Intense, snappy action scenes are exchanged for elongated, dialogue-heavy segments that provide few thrills and much predictability. The same can be said for the social commentary; because the message is clear within the first act of the movie, it doesn’t really have anywhere else to go. Though the messaging is highly important and spookily apt, the longer the run-time progresses, the less the script had to say on the matter. Furthermore, the movie lacks the serious edge that makes you really digest those heavy themes. The Running Man is much stronger when more focussed and smaller scale.
Although director Edgar Wright has a wildly large fanbase, many were scared that The Running Man would lack his signature style due to its blockbuster appeal – unfortunately, this winds up true. Although his direction here is competent, especially when it comes to those high stakes action sequences, it doesn’t feel like it’s come from his mind, and therefore doesn’t even touch the sides of what he is capable of. There are certainly some cool musical queues and bundles of energy, but they don’t feel as in keeping with him as his prior movies. Those who are buying their cinema ticket for Edgar Wright alone may become a little bit disappointed – it feels far safer and generic than his usual work. That being said, despite a slightly elongated run-time, the filmmaking itself is far from bad. The music provides a lot of fun and increases the energy with good needle drops, the cast are clearly being directed well as they all deliver great performances, and it’s visually pleasing, too. It just lacks the spark, personality and style that we’ve come to expect from an Edgar Wright joint.
The Running Man proves that even when Edgar Wright is at his least courageous, he is still a very talented director. Thus, audiences are likely going to have a fun time with The Running Man. It may lack style and flair, but oozes in action, charm and entertainment value. A tighter third act with less convolution and length would’ve made The Running Man a great watch, but the clunky finale alongside unserious, repetitive social commentary and a noticeably stronger first half mean it’s just a good watch, at best.
