Director: Edgar Wright
Cast: Glen Powell, Josh Brolin, Jessica Henwick
Run Time: 125 minutes
Edgar Wright remains one of the most distinctive filmmakers in modern cinema, defining his work with a style that few filmmakers can match. From the comedic, multi-genre stylings of the "Cornetto Trilogy" (Shaun of the Dead, Hot Fuzz, and The World's End) to the musical/caper kineticism of Baby Driver and the unsettling visual rhythm of Last Night in Soho, Wright treats the camera and editing tools as instruments used to build an eclectic mixtape of movies. Wright utilizes these talents in his adaptation of The Running Man. While the original 1987 action extravaganza starring Arnold Schwarzenegger stripped Stephen King's (writing as Richard Bachman) novel down to its core action set pieces, Wright's version is a far more faithful commitment to the source material's bleak social satire. He builds upon the legacy of the '80s staple only to subvert it, delivering a film that is less about muscle-bound characters and macho spectacle and more about a desperate man running from an entire, bloodthirsty society.
In a near-future, dystopian America, society is divided, and the media-obsessed masses are kept entertained by the "Network," a powerful corporation that broadcasts deadly reality television. Ben Richards (Glen Powell), an unemployed blue-collar worker needing money for his ill infant child, is selected as the lead "Runner" on the Network's top-rated show, The Running Man. Given a 12-hour head start, Richards must evade a team of heavily armed, elite "Hunters" led by the masked poster villain McCone (Lee Pace), and a civilian population eager to turn Richards in for monetary rewards. Showrunner Dan Killian (Josh Brolin) manipulates every aspect of the show, forcing Richards to fight to survive for 30 days while trying to expose the Network's authoritarian control over society.
Edgar Wright's version of The Running Man succeeds largely due to its dedication to the world-building aspects of the original Stephen King story. The film is a chilling reflection of contemporary anxieties, highlighting society's aggression and the rapidly shifting ideals that create destructive divisions between different groups of people. More than just an action film, it is a pointed critique of the unchecked power and control that governments and corporations can exert when combined with media manipulation. All of these resonant topics are subverted with dark comedy, sometimes heightened with emotional drama, and made visually energetic by Edgar Wright's flair for kinetic filmmaking and mile-a-minute pacing.
The casting choices are excellent. Glen Powell portrays Ben Richards as a desperate man on the edge, playing the role with a blend of charm, aggression, and a keen survivalist instinct. Opposite him, Josh Brolin is a delight to watch as Dan Killian, the show's puppet master with a devious smile and almost omnipresent influence that permeates every frame of the television show he produces. Add Michael Cera as an accomplice to Ben's run with a heavily fortified home and a scene-stealing Colman Domingo as the captivating host, and The Running Man is a who's who of fun character cameos. Wright consistently keeps these somewhat one-dimensional characters interesting by maintaining steady control of the narrative's "never stop running" motto. He constantly throws visual and plot-based wrenches into every setup, ensuring that the film's flow always feels like a desperate, adrenaline-fueled race to the finish line, preventing the audience and the character from ever settling into a comfortable rhythm.
Ultimately, the film succeeds primarily because of how much fun the director is having with the narrative design. Wright's signature visual language transforms the simple acts of fight and flight into a spectacle; whether in moments where the viewer chases Richards with some truly amazing wide-angle photography and rapid-fire editing choices, or in those instances when the world becomes a heightened reflection of the current dilemma facing society, the energy never stalls. Wright balances the tone, which is sometimes a rightfully angry commentary, with moments of smile-inducing silliness, such as a hyper-stylized conspiracy theorist (Daniel Ezra) who aids Richards, or the masked Hunters, one of whom has weapons with names like "Fate" and "Destiny" imprinted on them.
The Running Man is an exhilarating and visceral action film, proving that the best adaptations take the core themes and amplify them for a new generation. Wright has not just remade an '80s action staple; he has enhanced it, transforming it into an exciting, adrenaline-charged contemporary analysis of media's influence on society and the dangers of a divided society.
Monte's Rating
4.00 out of 5.00
