In the near future, “The Running Man” is the top-rated show on television, a deadly competition where contestants must survive 30 days while being hunted by professional assassins. Desperate for money to save his sick daughter, Ben Richards (Glen Powell) is convinced by the show’s ruthless producer to enter the game as a last resort. Ratings soon skyrocket as Ben’s defiance, instincts, and grit turn him into an unexpected fan favourite, as well as a threat to the entire system.
Better Get Running, Man
Glen Powell continues to excel as an action hero and leading man in this film, with a charismatic and exciting performance as Ben Richards, a father keen to provide for his family and be the best person he can be, even if it gets him fired from work and ultimately blacklisted. At home, he has a seriously ill daughter, who carries the emotional weight of the story, losing a sock which Ben carries with him throughout the competition, a sign of who he’s doing it for.
One of the film’s biggest helps is how much you want to root for Powell, and how good a job both Wright’s direction and Powell’s performance lend themselves to you supporting Ben in every way possible. I found myself becoming incredibly excited when we see him fight one of the competition’s hunters for the first time. Ben isn’t driven to kill at times – at first, accidentally yet comically killing people through mishaps and various situations playing out – but he is an incredibly likeable character, and that’s why Powell’s casting works so well. When required to, you see the darker, hurt side of Ben Richards, but also the loving family man side at times, too.
Powell shines most when the film explores the emotional and psychological manipulation of the competition. One moment towards the end of the film blurs the line between truth and fabrication, right in front of his eyes, certainly a very personal edition, and Powell plays it with an excellent balance of shock and disbelief. Easily one of the film’s strongest examples of Wright’s commentary on misinformation, showing how easily audiences can be convinced by what they see on screen. It makes the film feel very timely, given current discussions around deepfakes, AI, and media distortion.
Opposite him, as the leader of the Hunters who continue to pursue Ben is actor Lee Pace. Pace’s ultra-douchebag Evan McCone is the ultimate rival for Richards – he is the yin to his yang if you will. Their dynamic carries a lot of energy throughout the duration of the film, particularly during their first proper encounter in the competition, which sets the tone for their cat-and-mouse rivalry.
Welcome Back, Edgar Wright
For the most part, I did like Wright’s previous film, Last Night in Soho; whilst I wouldn’t describe it as “quintessential Wright,” there are some very clever ideas and concepts played around with, in addition to two strong performances from Thomasin McKenzie and Anya Taylor-Joy. If I had to compare this film to another of Wright’s, it would easily be Baby Driver.
There are a lot of great Wright-isms throughout, the comedy lands consistently, whether that’s Michael Cera‘s character’s mother screaming at Ben, or when you have the comedic reaction of people realising they’re in front of a fugitive — or very early on where there is a visual gag with Ben turning his head synchronised with a moving digital poster of him behind where he’s standing.
Speaking of Cera, a returning Wright collaborator (who is great here too), he plays a vengeful man who’s turned his home into a next-level edition of Home Alone, with a trap-filled safehouse, complete with electrified floorboards and improvised gadgets. It’s Wright’s absurdity to a T, and even though this film leans more into action-thriller territory, the tone of dark comedy scattered throughout still hits the mark.
Race to the Finish
Visually, The Running Man feels a little more restrained than Wright’s previous work. His usual editing style and camera movements are dialled back, giving the world a grittier, more grounded dystopian feel. There’s still humour and flair, but this version of Wright seems more interested in building tension within a believable, tech-driven society. The worldbuilding is strong, with a clear sense of how controlled and desensitised this future has become, though there are times when it feels like it could have been expanded even further.
In standard Stephen King tradition, I found the film’s ending to be incredibly underwhelming and somewhat predictable. The film’s final act takes Ben to the skies, with him, Amelia Williams (Emilia Jones) and the Hunters all headed to safety, with one final offer on the table for Ben to see an end to the competition. Without spoiling the nature of the scene, I must admit the action is very good, high stakes, low risk of survival kinds of combat, which really sells the excitement, matching what has preceded the events in the 2 hours prior.
Where I struggled most with the final act is the “gotcha” switcheroo we get when, as expected, as the film has been pushing us to learn… everything is never as it seems, especially when it comes to being on TV. See it as a ‘Get Out of Jail Free’ card — the film is able to fall back on the excuse of faked footage to skip a ton of exposition before the film’s true ending with chaos, guns blazing, and a whole lot of fire.
‘The Running Man’ – Final Thoughts
Glen Powell continues to prove why he has the aura, acting skills, and charisma to lead project after project, and is becoming one of my new favourite actors of all time. Edgar Wright’s known flair is present throughout this very relevant social commentary, with humour and action bursting at the seams. Definitely one worth checking out this month.
The Running Man releases in theaters on November 14. Check out the trailer below:
