3.0 out of 5.0 stars
Following the releases of the Stephen King novel “The Running Man” in 1982 and the film of the same name in 1987 starring Arnold Schwarzenegger, director Edgar Wright brings a new adaptation of the novel to light, with “The Running Man” sprinting into theaters Nov. 14.
“The Running Man” follows Ben Richards (Glen Powell) who, in desperate need to support his family, tries out for a game show controlled by FreeVee, the major corporate news network controlling and manipulating the dystopian landscape. He is selected for the titular competition “The Running Man,” the most dangerous and popular game show in the world. The three selected could win up to one billion dollars if they survive everyone in the world — including five professional hunters — for 30 days. If Richards were to win, he would be the first in the show’s history. While on the run, Richards not only discovers how severe the totalitarian government is, but also how it uses reality television and game shows to placate civilians.
Wright is known for his fast-paced and energetic editing and camera movements, exemplified best in films like “Shaun of the Dead” (2004), “Scott Pilgrim vs. the World” (2010) and “Baby Driver” (2017). While there are slight moments where his directing shines, like when Richards runs down a narrow hallway in a hostel where he is shot at through every door in a fantastic long take, “The Running Man” struggles to have a consistent directorial voice. For example, in scenes where two characters are simply talking, the camera struggles to find a place to fully let the viewer see and understand what they are watching.
Powell brings the charisma and versatility needed for the character of Richards. Disguising himself in many forms — a homeless man, a blind priest and more — Powell utilizes his physicality and voice to run from the tyrannical dictatorship. While it seems to be a reach that Richards would ignite a movement that would overturn the totalitarian government at the end, Powell’s charms help ease the viewer’s questions and concerns.
“The Running Man” finds itself at its most entertaining when Richards is on the run. Literally running into kooky characters who range from wanting to kill him to believing he is the spark that will light the fire for a revolution, the tension and humor collide entertainingly in the middle chunk. Despite this, at both the beginning and end, it struggles with an overcompensation for its comedic relief.
The large ensemble electrifies the narrative. Bobby Thompson (Colman Domingo), the host of “The Running Man” competition, is just as — if not more — charismatic as Powell. Josh Brolin leaves a lasting impression as Dan Killian, the main producer on the show. Comically evil, Killian’s manipulation and unpredictability leaves the viewer constantly in a state of confusion, to the point where it is unclear what is or is not real by the end.
Another standout is Elton Parrakis (Michael Cera), a quirky rebel who takes in Richards for a few days when Richards finds himself in Derry, Maine. The highlight of “The Running Man” is when Elton is able to put his “Home Alone”-esque traps to use on the soldiers who break into his house. Cera brings the craziness that was not short of, but needed to be told in a more specific, entertaining lens.
The cinematography and editing — done by Chung-hoon Chung and Paul Machliss — help in some circumstances but drag it down in others. For example, an action scene that involves Richards and Elton in a car chase is shot and edited so quickly and frantically that it is difficult to decipher what is occurring. In smaller scenes, such as the reunion between Richards and his family at the end, they are shot and edited beautifully and genuinely move the audience.
The script, written by Wright and Michael Bacall, is one of the weaker elements of “The Running Man”. Paced too quickly in action scenes and too slowly in scenes that attempt to flesh out the characters, “The Running Man” feels properly disjointed.
With palpable energy and charismatic performances, “The Running Man” is a thrilling cinematic experience that will leave the audience entertained for portions of the film. Despite this, it is relatively unclear at certain moments whether the focus is on being a warning for how dangerous this possible future could be or a “Saturday Night Live” sketch satirizing dystopian films.
