THE RUNNING MAN -- Desperate Times, Desperate Men

Review by Camden Ferrell

Edgar Wright has made a name for himself as one of the premier directors of his generation, delivering stylish action that blends well with his unique style of storytelling. With a catalog that includes films like Scott Pilgrim vs. The World and Baby Driver, Wright seems like one of the best choices to tackle Stephen King’s The Running Man. While his newest movie lacks the flair that has made some of his movies modern classics, this dystopian action flick is still a non-stop thrill ride that is intense and makes the most of Glen Powell’s undeniable star power. 
 
Ben is a husband and father who has been blacklisted from finding reliable and steady work. Passing his days in squalor, unable to afford the medicine his severely sick baby needs, he is left with no other choice. He finds himself as a contestant on the widely popular show from which the movie gets its title. In this game, he must survive 30 days while being hunted down by ruthless assassins with the entire world incentivized to look for him and report his whereabouts. If he succeeds, he will be able to provide for his family for good. It’s a classic story about desperate men in desperate times, and it’s one that Wright understands shares timely parallels with the turmoil many people face today. 
 
Written by Wright and Michael Bacall, the movie’s writing isn’t as sharp or witty as some of their past projects. While it’s not necessarily a movie that needs that treatment, it does make the film feel a little more paint by numbers in its messaging than one might expect. Wright and Bacall also jump between scathing observations on our modern world and overexplained thematic exposition. It’s more or less “Intro to Wealth Inequality and Working-Class Cannibalization 101”, but it seems like their intent was to be about as subtle as a hammer to your skull. It’s an approach that had mixed results for me as a viewer, but it’s one I can appreciate if nothing else. 

Led by bona fide blockbuster star Glen Powell, this movie clearly knows how to maximize his potential. He brings such an irate performance to the table that feels like it’s on the verge of exploding at any given moment, and he balances it with an emotional desperation that gives the story its heart. He plays very well off the supporting cast, and he is absolutely killer in many of the action set pieces. While cast members like Josh Brolin, Lee Pace, and Colman Domingo are fun to watch, I found myself particularly fond of Michael Cera as an unpredictable anarchist. It’s pretty much the same character he always plays, but it’s a delight, nonetheless. And while Emilia Jones does the best with what she’s given, her character felt shoehorned and underdeveloped in a way that feels uncharacteristic for Wright. 
 
Most everyone who wants to see this movie is probably curious about the action, and I’m happy to say it’s amazing. Edge-of-your-seat moments are scattered consistently from start to finish, and the movie feels much faster than it actually is. It also feels like a good showcase for some practical effects that is much needed in a CGI-heavy industry. Its action is intense but also doesn’t take itself too seriously all the time, and it’s a unique tone that works well for what the movie is going for. 
 
The Running Man may lack the traits that make Wright’s films so beloved, but even on an off day, he delivers an explosive and undeniably enjoyable action flick that will excite audiences everywhere. It’s another notch in the ever-growing belt of Glen Powell, and it’s another win for Stephen King adaptations in theaters this year. 
 
The Running Man is in theaters November 14. 
 
Rating: 4/5 ​