The Running Man review: Desperate optimism fuels the action-packed contest
‘The Running Man’ distracts a disgruntled population with lethal game shows, but they may finally get the hero they deserve.
We live in interesting times. We’re now passing, approaching or surpassing dates once considered the distant future by authors and filmmakers. We’re more than 10 years past the furthest date in the Back to the Future series. Stephen King set his dystopian novel about a deadly game show in 2025. Some of their future musings imagined technologies still beyond our capabilities, like flying cars. But other, more depressing societal predictions ring closer to the truth, such as class disparities. The Running Man’s apt release doesn’t feel that far off the mark anymore.
In spite of working some very dangerous jobs, Ben Richards (Glen Powell) was fortunate enough to father Cathy with his wife, Sheila (Jayme Lawson). However, he’s blacklisted for speaking the truth too often and they barely get by on Sheila’s waitressing wages. After days of being unable to treat Cathy’s flu, Ben decides to try-out for one of the round-the-clock, cash prize game shows.
Unfortunately, The Network’s head, Dan Killian (Josh Brolin), sees a prime candidate for their most popular reality series, “The Running Man,” which has a zero-survival rate. But the prize for lasting 30 days is $1 billion for the contestant’s next of kin. On the other hand, ordinary citizens earn $1,000 for tips and $10,000 if the tip results in a kill, so the odds are against runners.
It would surprise no one to learn co-writer and director Edgar Wright’s adaptation of the 1982 novel is less bleak and more hopeful than its source. Even though it’s a short book, the story still requires significant condensing to fit into a 133-minute movie. Days of laying low and hiding out are disrupted by the improbable arrival of the hunters, led by the fierce Evan McCone (Lee Pace). The result is a more action-oriented narrative that really does require Ben to run for his life on multiple occasions.
More importantly, the original kamikaze ending didn’t age well, so a change was inevitable. The film includes all the book’s key characters and major plot moments, while cutting out most of the sexist, racist and crass sentiments that pervade the desolate novel. The change makes Ben a more likeable underdog who’s angry, but trying to rise above his circumstances.
We may not have hover cars in 2025, but people still obsess over reality television. In the book, it’s portrayed as an easy distraction from and way of upholding the increasing class divide. Similar to the lottery, the game shows represent a chance to transcend to a better life. When that’s someone’s only chance at advancement or even survival, the odds don’t matter. A man’s noble pursuit of saving his sick daughter is exactly the type of cause they need to stifle.
Conspiracies about air pollution killing the poor are mostly replaced by plots to rig the game shows. Theorists believe “The Running Man” is impossible to win because the game’s rules discreetly expose the contestants. Not to mention the remote-controlled, flying cameras that track competitors once they discover their location. A rigged system and deepfakes are schemes people can relate to and rally against, once again aligning audiences with Ben.
This is a far more loyal adaptation than the 1987 film of the same name, starring Arnold Schwarzenegger, which just used the game show concept. In actuality, there’s no need to force people onto the show when volunteers line up around the block to audition. Their peers cheer for their deaths because it’s not them on the chopping block — not yet anyway.
Powell is an ideal everyman-turned-hero. He’s handsome, athletic and credibly clever. Ben’s wrath is justified, so it’s not offensive — in fact, it’s a symbol of how much he cares. His accusations of privilege even shake his hostage’s (Emilia Jones) superiority. By being an inherently nice guy, Ben is able to take the moral high ground, even when people are dying.
In spite of his limited screen time, Colman Domingo excels as the loud and magnetic game show host. He knows exactly how to push the audience’s buttons to transform them into a bloodthirsty mob. On the other hand, Brolin portrays a man who thinks he’s an untouchable puppet master, pulling the strings without consequence. Killian is the embodiment of the evil, oppressive corporation.
Though the film’s soundtrack isn’t as prominent as one might expect (note a distinctly missed opportunity to include AC/DC’s “If You Want Blood (You’ve Got It)”), it still features some of Wright’s other signatures. Notably, a dark sense of humour runs through the film, even as the characters stare death in the face. This is particularly true of Michael Cera’s rebel character who gets a little drunk on danger. There are also some amusing Easter eggs, including Schwarzenegger’s face on the currency and “Bachman’s” in neon lights, referencing the pseudonym King used to first write the book.
While it would still be interesting to see a more faithful adaptation, this more optimistic version of the story is a crowd-pleaser. Explosions, near misses and nude chases create a high-energy action picture. And even though the political messaging is inseparable from the narrative, it doesn’t detract from the film’s enjoyment.
Director: Edgar Wright
Starring: Glen Powell, Josh Brolin and Colman Domingo
