The Running Man Review: Glen Powell Lives Up To His Movie Star Promise In Softened Stephen King Thriller

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While working on this new adaptation of The Running Man, I understood the challenge of translating this story to film. Like Stephen King’s original 1982 novel, this version, directed by Edgar Wright, is set in a bleak future America where television is used to control people. The story features a struggling underclass who can compete in brutal and humiliating game shows for money, which allows the wealthy to see them as less than human and keeps the population entertained with violence.

The book effectively builds a dark picture, revealing the unsettling truth behind the distractions and potentially changing how you view game shows. However, a film adaptation presents a challenge: it has to show potentially disturbing content, and viewers might actually enjoy it. The filmmakers face a difficult choice: should they fully embrace the story’s critique and make us uncomfortable with our own enjoyment, or soften the impact and let us simply enjoy the action as the hero fights against the controlling forces?

I’ve always known director McG wanted to be truer to the original Stephen King story than the 1987 Arnold Schwarzenegger movie was. But honestly, McG is a fantastic entertainer, and Glen Powell – who’s quickly becoming a huge star – is perfect as the lead, Ben Richards. They both clearly had a blast making this, and they didn’t hold back – it’s pure, unadulterated fun!

Whether you enjoy The Running Man really depends on if you accept its central idea. However, for much of the film, it’s simply entertaining and hard not to like.

Edgar Wright Brings Glen Powell To The Blockbuster Big Leagues

Glen Powell is really breaking out with this new film. After gaining recognition in Top Gun: Maverick, he’s now leading a major action movie, and it’s perfectly suited to his talents. It’s funny to note the film’s title could easily describe Tom Cruise’s life, but that’s likely just a coincidence.

In King’s story, Richards is a very angry character, and actor Powell fully embodies that rage. However, Powell manages to make even his explosive outbursts appealing. He’s a convincing action hero who performs the stunts well, but he also keeps a relatable, underdog quality that makes audiences root for him. This is different from Arnold Schwarzenegger, who always seemed destined to win; the original ’80s version of the story lost that sense of a regular person overcoming challenges.

He’s naturally funny, and that really shines through in The Running Man, as Wright brings his signature comedic style. He’s skilled at adding cleverness to every detail of his films – from how they’re edited and filmed, to the dialogue and how actors move – which makes them feel so energetic. While he uses fewer flashy techniques this time, his unique touch is still visible, and I found myself smiling throughout. Powell perfectly captures that tone, making him a great fit for the director’s vision.

The supporting actors all seem to understand Wright’s vision. Josh Brolin plays the producer as a charming antagonist, perfectly balancing Powell’s brooding hero. Colman Domingo is captivating as the host of The Running Man, and his performance is key to making the hero’s challenges feel real. Michael Cera, who previously worked with Wright on Scott Pilgrim vs. the World, delivers a focused and strong performance.

In Trying To Entertain, The Running Man Loses Its Dystopian Edge

I really get swept up in the energy of The Running Man and those action sequences are fantastic – they really show what Edgar Wright does best. But honestly, the movie also feels like it bumps up against what he doesn’t quite excel at. When he’s given a great story, he can hint at deeper feelings without getting heavy-handed, but his films aren’t really about making big statements. And this particular dystopian world? It just feels a little… gentle, you know? It lacks that real bite you expect from the genre.

The 1987 film connected its violent game show to America’s fascination with violent sports, attempting to both entertain and offer social commentary – a balance it mostly achieves. This new version, however, focuses on reality TV, using game shows and a popular, fictional series called The Americanos to explore the themes. While the film presents some compelling ideas, it rushes through them without fully developing them.

The way the movie uses these references is odd. It doesn’t criticize us for escaping into entertainment, but rather wonders why we choose this kind of entertainment – something so artificial and predictable – when better options exist, like The Running Man. Why spend time on shows that freely manipulate viewers when you could be watching something genuinely thrilling, like Glen Powell performing stunts?

I agree with the message, but it doesn’t feel deeply impactful. Therefore, when the play attempts to recapture the serious tone of Martin Luther King Jr. in the final act, it comes across as unnatural and strained. Emilia Jones seems to bear the brunt of this, possibly due to being miscast or not having enough time to convincingly portray her character’s changing emotional state.

Thankfully, the movie doesn’t fully fall into that trap, and viewers who are willing to go with it can likely overlook the misstep. However, I found the ending less satisfying than I’d hoped. The Running Man is still a genuinely enjoyable film, but even if I focus on the fun parts, I can’t shake the feeling that the movie adaptation lost something from the original story.

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2025-11-11 22:13