Decades after Arnold Schwarzenegger tore through the neon-lit arenas of the 1987 The Running Man, Edgar Wright’s adaptation of Stephen King’s novel arrives under a weight of anticipation. The original remains a touchstone of dystopian action, fusing spectacle, social satire, and unrelenting energy; Wright’s take holds onto the spirit of the original while injecting contemporary punch, balancing inventive action set pieces with grounded, character-driven intensity.
Set in a hyper-violent near-future America, The Running Man imagines a world where televised bloodsport has become the nation’s most-watched entertainment. Contestants – known as “Runners” – are forced to fight for survival, their every move broadcast to millions of spectators. At the center of this brutal competition is Ben Richards (Glen Powell), a working-class father driven by desperation to protect his daughter. Powell carries the film with seething intensity, continuously grounding the bombastic chaos of the arena in the emotional weight of Richards’ personal stakes.
Wright co-wrote the film with his Scott Pilgrim vs. the World cohort, Michael Bacall, and this version certainly hews closer to the novel than the 1987 Schwarzenegger film, preserving its spirit of defiance against authority while also examining modern concerns around media saturation, surveillance, and the spectacle of violence. The film’s critique of corporate power and society’s appetite for televised bloodsport lands effectively, showing how obsession with spectacle can erode empathy. Yet the narrative occasionally falters: side plots slow the pace, some stretches of dialogue overstay their welcome, and Josh Brolin’s corporate villain is surprisingly underwritten – an unexpected lapse from Wright, whose work is usually so assured.
That said, these flaws hardly derail the film. Powell’s Richards is perfectly cast: a man whose rage, desperation, and cunning coexist in every scene. Supporting players inject plenty of the flavor and levity that made both the book and the ’87 movie so memorable: Colman Domingo relishes the flamboyance of the show host, while Michael Cera delivers a gleefully anarchic, scene-stealing turn as the young rebel.
The action is definitely one of the film’s strongest suits, too. Each set piece carries its own rhythm, from sprawling citywide chases to tight, claustrophobic confrontations. Wright leans on long takes and inventive camera work to make the sequences immersive, giving the viewer a palpable sense of urgency. Yet it isn’t without flaws – some heavily edited segments feel somewhat jagged, and even Wright’s usual precision can’t entirely prevent moments that verge on disorienting.
The film’s humor also does a great job at slicing through the tension. Wright’s comedic timing, paired with his always-welcome needle drops, provides bursts of unexpected energy, levity, and satirical bite, leaning more into the zany one-liners and slapstick comedy of the 1987 original than his usual British-inflected wit, yet landing just as effectively.
So, Wright’s take on King’s material definitely aims ambitiously, but it doesn’t always quite stick the landing. Like I said, certain secondary threads drag the pace, certain characters barely register, and the ending will definitely maybe rile hardcore fans. Even so, The Running Man is still a gleefully bombastic spectacle, full of popcorn thrills and plenty of much-needed emotional and thematic weight, offering sharper commentary than most contemporary action fare out there.
Ultimately, The Running Man is an energetic, engaging update that juggles high-octane action, sly humour, and genuine social observation. It falters occasionally, but Glen Powell’s seething, emotionally charged turn, Wright’s ability to corral the chaos without losing control for the most part, and the ceaselessly inventive set pieces come together to create a spectacle that transcends typical summer blockbuster fare. It’s a film that truly benefits from the big-screen experience — see it where it was meant to be seen.
VERDICT:
Catch The Running Man in cinemas on November 14, 2025.
