A bicep-shaped, Regan-era power fantasy, the original 1987 film The Running Man was a wonderfully schlocky Sci-fi/Action vehicle that dispensed big kills and smirking Schwarzenegger one-liners. Unlike that cartoonishly bombastic 80’s film (which, to be fair, was the style at the time) this updated offering is less of a remake and instead a more faithful adaptation of the Stephen King (Richard Bachman, if you’re nasty) original 1982 source novel.
Constraining the film the more grounded Sci-Fi dystopia of the source material comes with its own challenges of course. The 80’s version of the future that’s supposed to shock us somewhat undermines some of the things the film is trying to get across, but more on that in a minute.
Like the novel, the new 2025 The Running Man drops us into a dystopian future where we find the fierce tempered every-man Ben Richards (Glen Powell) being fired from his blue-collar job unjustly for sticking up for a colleague. We immediately understand this is a world of have and have-nots and Ben is being crushed under the boot of Nightmare Future Capitalism™. He is a disposable cog with no money or power. Ben returns home to the squalor of his tiny apartment (in the aptly titled Slumside) with his desperately ill child and shares the bad news with his wife as they struggle to make ends meet. Though she’s working double shifts, they can’t afford the basic medicine needed to help their child, only cheap narcotics to help dull the pain.
They’re holding up their end of the bargain, but capitalism isn’t holding its end, and desperate times call for desperate measures. To provide for his family, Ben decides he will try out for one of the horrific reality TV gameshows that torture their contests for the perverse pleasure of the American public. Due to his temper and defiant attitude, he is selected for The Running Man: a 30-Day televised manhunt, hosted by the infinitely charismatic Bobby T (Colman Domingo) styled as a mix between televangelist and Greek chorus. The entire nation is now looking for Ben while a dedicated squad of hitmen (controlled by the all-powerful Network) track him across the country. If Ben survives 30 days and kills all the hitmen, he wins a billion dollars. Much like the world of the film, no one has ever won before.
The “show” itself sticks to realty show conventions and invents a click-bait style character for Ben that the audience can root against. The Network uses A.I. fakes to paint Ben as deadbeat dad who has abandoned his family, which further enrages Ben. This is the first of many instances where the show uses A.I. fakes to control the narrative, because after all, this is still reality TV. As Ben is hunted cross-country by the hitmen who are tipped off by public, he is aided by colorful characters who are fighting the oppression in the world via their own independent media. Using analog weapons like VHS and paper pamphlets, this underground resistance demonstrates not everyone has bought in to the propaganda. Some see behind the curtain and the narrative they’ve been supplied. As resistance correctly suspect, the game is indeed rigged, and the Network is orchestrating the shots behind the scenes to ensure control and giant ratings. Even when Ben slips through their grasps and becomes an underdog hero to public, the Network just uses fake AI footage to ensure they’re in control of the narrative.
And here is part of the problem mentioned before – the 80s version of dystopian future that we’re adapting here… ain’t that far from today. Cameras everywhere, people struggling to live under an oppressive capitalist system where they can’t afford the necessities like healthcare, A.I. fake footage- all this isn’t a future fear. The dystopian trappings that would shock in 1982 are somewhat commonplace today.
Aside from Colman Domingo’s charm machine and a standout cameo from the always hilarious Michael Cera as a reclusive resistance fighter but there aren’t really many notable performances. Josh Brolin occasionally Facetimes in as the face of evil Network pulling the strings but isn’t given enough time to shine. Although marketed as an action film, there are only a few notable set-pieces and unfortunately most are spoiled in the trailer. What is there works however and they are stylish and slick. That said, this might be the most restrained and accessible work of director Edgar Wright’s career to date. The film doesn’t feature the hyperkinetic editing and slam zooms that became the house style of Wright’s earlier work in the superior Hot Fuzz and Shaun of the Dead. With a budget of over $100 million, Wright is clearly aiming for an accessible crowd pleaser featuring one of Hollywood’s hottest, up-and-coming leading men and Wright mostly delivers. | Joseph C. Roussin
