Edgar Wright’s somewhat disappointing remake is saved by the strong performance of its main star.
For over two decades, director Edgar Wright has been a hot commodity in the film community. From 2004’s Shaun of the Dead to 2010’s Scott Pilgrim vs. the World up to 2017’s Baby Driver, the filmmaker has a certain fun style with his films that people have come to recognize. However, his last effort, Last Night in Soho, was a bit of mixed bag and not per the usual we’re used to seeing from the director. Now enter The Running Man, a remake that appears on its face more of something right in his wheelhouse. However, it’s not without its issues. Regardless, it’s certainly the type of popcorn flick whose main attraction, Glen Powell, makes this B-action film worth seeing.
In a futuristic dystopian world of sorts, we find a just-now-fired Ben (Glen Powell) signing up to compete in The Running Man, a game show in which contestants have 30 days to survive a group of hunters in order to win one billion dollars. Ben’s recent firing leaves him no choice other than signing up for this dangerous show, as he has a family he needs to take care of. However, as the hunt begins, Ben and a group of people along the way begin to unearth the truth behind the game show, the show’s producer (Josh Brolin), and how society is splintering even further from those who are well off and those who are in need of assistance.
On paper, Edgar Wright seems like the ideal choice for The Running Man. The project contains all the elements he excels at: sci-fi action, a complementary blend of comedy and thrills, and an all-star ensemble. Yet, despite this promise, the film frequently struggles with an identity crisis. Moments of sharp, witty satire land perfectly, often amplified by Glen Powell’s charismatic pizzazz, which grounds the dire situation. However, the film’s deeper social commentary–specifically its focus on the divide between the rich and the poor–can become heavy-handed. The lasting effect is an uneven balance, compounded by a runtime that feels at least ten minutes too long. On top of all this, it also doesn’t feel like a film Edgar Wright made, which seems odd to say out loud. Ultimately, while this prevents the film from fully realizing its potential, its high entertainment value ensures it is never a slog, especially with Powell leading the charge.
Glen Powell’s career has been on a meteoric rise since he captivated audiences as “Hangman” in Top Gun: Maverick. He possesses an undeniable charisma, showcasing all the essential tools of a modern movie star, and all of that is on full display in The Running Man. Powell single-handedly elevates the material, serving as a magnetic anchor who ensures the film is an instant, entertaining watch even when the script doesn’t quite match his star power. His performance carries the solid action, lands more than a few sharp one-liners, and sells some of the dramatic moments, making the movie a must-watch despite its imperfections. The film is also supported by a stacked all-star cast that includes Josh Brolin, Colman Domingo, William H. Macy, Katy O’Brian, Lee Pace, Michael Cera, and Emilia Jones. Like Powell, these performers take the uneven source material and use their collective talent to raise the film’s overall quality.
While The Running Man had all the makings of a truly great film, its unevenness makes it a slight disappointment. Despite its flaws, however, the film is an easy recommendation for a big-screen viewing, thanks entirely to the drawing power of Glen Powell. Hollywood is in desperate need of new, undeniable stars, and Powell is rapidly proving himself to be in the mold of actors who, like Timothée Chalamet, can single-handedly drive a film. He is a genuine “butts-in-seats” performer, and his charisma makes the trip to the theater worthwhile–even if the film itself is merely a good-enough quality Saturday afternoon thrill ride that we ultimately may forget a few weeks later.