Strong Start but Trips at the Final Hurdle: A Running Man Review

Glen Powell in The Running Man

A very entertaining action flick that doesn’t take itself too seriously, The Running Man is one of those big blockbusters you can get lost in, with enough substance for almost anyone to enjoy. The first half features some of the best dystopian elements you’ll see, reminiscent of classic 1980s dystopian films, but it is let down by a complicated, messy second half that drags on and becomes a little too silly and unserious. The themes are almost hammered home for the audience. They’re some of the most obvious you’ll encounter, and yet the film still spells them out through character monologues that feel far too on-the-nose dialogue, although quippy at times, sometimes drags on with unnecessarily long conversations and cluttered exchanges.

There is a lack of real emotional stakes, as I wasn’t convinced by Powell in this aspect, and the tension feels surprisingly low. We are thrown into the Running Man game too quickly, sacrificing valuable time that could have been used to build a stronger emotional connection between Ben and his family. The second half feels like a completely different film, with Powell’s bridge jump marking the start of a messy and strange Act Two. Some characters could have been cut entirely to make the film feel more polished, and whilst Emilia Jones delivers a flawless performance, her character feels out of place and could arguably have been removed. The ending also sticks out awkwardly, leaving audiences unsure of how it will conclude. While ambiguity can be effective, here the minimal setup makes the resolution feel almost arbitrary, leaving the audience unsure when the story will end or when events will be explained.

Despite these flaws, the film remains engaging and fun, with the cat-and-mouse sequences keeping you on the edge of your seat. I had a genuinely good time and found it very amusing. There are some impressive set pieces, and the first half allows you to fully immerse yourself in this alternate reality.

The world-building is excellent, demonstrating a clear love for the material, with strong attention to realism and immersion. Advertisements and mise en scène are carefully designed to pull audiences into the dystopian world. There are glimpses of the Edgar Wright we all know and love, though not enough to make the film truly memorable in that sense. I am not very familiar with the original film or source material, so I cannot compare Wright’s version. His directing is a strong point, which is paired with impressive cinematography reminiscent of his broader work, something he consistently excels at even in weaker films.

Powell is a star, and the ensemble cast helps elevate a somewhat subpar script. The scenes with Cera are definite highlights; his quirky comedic style shines through, and even though his scenes sometimes feel disjointed from the main story, the Powell-Cera duo is strong enough to steal the show and carry these out-of-place moments. The action sequences, specifically the hotel scene, are also some of the best you’ll see this year.

You’ll enjoy The Running Man if you don’t go in expecting an action-packed political satire with deep societal commentary, because it’s not that kind of film. Instead, it’s simply a better-than-average, fun action movie. I must commend Powell, who, in my opinion, is part of a group of actors single-handedly bringing back the kind of entertaining, big-budget blockbusters that have been somewhat missing lately. For that reason, I think it’s a must-see in cinemas. Go watch Powell channel his inner Tom Cruise on the big screen. Supporting movies like this is important, and we all want to see more of Edgar Wright.