The Running Man: A Dashing And Dynamic Ride

Edgar Wright’s extensive array of energetic expression throughout his body of work has reinforced his position as a distinguished and dynamic filmmaker. From the witty Cornetto trilogy, the imaginative style of Scott Pilgrim vs. the World, and the electrifying Baby Driver, Wright is proven confidently capable of dazzling audiences in vastly different genres. Tackling a new adaptation of Stephen King’s (as Richard Bachman) book, The Running Man delivers a refreshing, high-octane film that aims for a more faithful adaptation of King’s source material while still fusing subtle tributes to Paul Michael Glaser’s 1987 version with Wright’s fast-paced, stylish action.

The film follows Ben Richards (Powell), a blacklisted blue-collar worker who enlists in The Running Man, a television competition to win money for his family. Determined to win the $1 billion prize for his wife Sheila (Jayme Lawson) and his sick daughter, Ben is hunted by the network’s ruthless hunters throughout the country, as he is committed to surviving the next 30 days on the run. Villainized by the network, Ben is driven for revenge to bring the entire system down, including the show’s producer Dan Killian (Brolin).

Powell’s exuberant charisma is on full display, signifying The Running Man as a pivotal driver for the flourishing of a new reliable leading man. Powell fits comfortably into Wright’s fluidly written wit, as he balances Ben’s vindictive perseverance throughout the dystopian chaos. While sacrificing initial exposition, the film promptly jumps straight into Ben’s relentless game of survival, bouncing between cities to outsmart the system. Channeling his inner Hit Man by elaborately disguising in plain sight, Powell nails Wright’s mix of fun-filled action and tonal balance that rarely seeps into modern action films.

Audiences familiar with the Arnold Schwarzenegger-led version will quickly grasp the vast differences between both films, yet still perceive the faint winks of the theatrics embedded within the presentation of this barbaric television program, led by the lively and playful host Bobby T (Domingo). From vintage clothing, elaborate dance choreography, and even a nod to Arnold himself, the film does not shy away from incorporating positive aspects from a flawed adaptation while still providing a unique stylistic vision to the screen.

Throughout this peculiar period of history and pop culture where this iteration could easily be discarded as an opportunistic satire, The Running Man rises above such modern trends that popularize reality television and faux-reality media as it remains honest to the parameters outlined in King’s original novel as much as possible. Detailing the intricate rules of the show, Wright’s film remains unpredictable in its execution of Ben’s adversity to these constraints as he persists through the unceasing twists and turns. 

Along the way, he meets rebels Bradley (Daniel Ezra) and Elton (Michael Cera), who serve as some of his few saviors to his revolutionary cause, providing shelter and escape amongst the tireless nights. When civilian stray Amelia Williams (Emilia Jones) becomes entangled in Ben’s dangerous game as well, it becomes incredibly natural for audiences to be engaged in his life-changing adventure, brought to life by Chung Chung-hoon’s dynamically immersive cinematography and Steven Price’s lively score.

Edgar Wright’s consistency in combining sharp wit with fast-paced action can certainly be applauded for his decades-long career, unaltered by his most ambitious project yet with The Running Man. Entrusting rising star Glen Powell to lead this King adaptation builds enough hype that it undoubtedly captures the high expectations set on this wild ride, complementing the 1987 version. Defying conventional styles with each film, Wright is astoundingly creative in adapting to new genres – something we hope and encourage through the rest of his prosperous career.

still courtesy of Paramount Pictures

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Costa Christoulas

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