'The Running Man' Review: Ferocious, But Forgettable
Writer/Director Edgar Wright is back at it again, this time tackling a remake of The Running Man, based on the beloved Stephen King novel of the same name. What on paper seemed like a match made in heaven, unfortunately results in an action-packed letdown.
The Running Man centers on a man named Ben Richards (Glen Powell), a family man struggling to make a living and provide for his family. After his daughter becomes ill, he must make the difficult and highly risky decision to audition for a game show called The Running Man, where if he can survive being hunted for thirty days, he can make enough money to not only take care of his sick child, but provide a far better life for his family. However, that is easier said than done when the odds are stacked against him and the whole world is watching his fight for survival. Joining Powell in this impressive cast is Colman Domingo, Michael Cera, William H. Macy, Katy O’Brian, Lee Pace and Josh Brolin as Dan Killian, the producer of the show who is pulling the strings behind the scenes in order to boost and maintain ratings.
While the eighties adaptation of King’s novel starring Arnold Schwarzenegger deviated from the author’s story quite heavily, Wright’s adaptation of the source material embraces it considerably more, sporting a meaner, far less campy tone to set itself apart. The world building is impressive and immersive, the production design and cinematography effectively making this version of society feel tactile and lived-in, a society that isn’t very dissimilar from the audience’s own. Wright’s confident, assured hand behind the camera also aids the immersion, especially as Richards begins participating in the game and the paranoia fully sets in not only for him, but for the viewer as well.
The highlight of the film, without a doubt, is the central performance from Powell. The talented young actor has not only proven his versatility, but his leading man prowess as well in recent films like Hit Man and Twisters. However, his star power has never felt more palpable than it does here. Richards is a character that audiences aren’t used to seeing the actor portray, an every man with bottomless rage bubbling beneath the surface that he can barely keep down. This is a protagonist that throws out more punches than he does punchlines and Powell is able to handle it with ease as he delivers a ferociously entertaining performance. He not only brings his magnetism to the role, but the emotional gravitas needed to make Richards a character worth rooting for despite his shortcomings. This is a man audiences will want to see succeed and survive and that is entirely due to Powell’s terrific work here. The supporting cast is strong here as well, the standouts being Domingo as the host of The Running Man, inhaling the scenery around him with a deliciously hammy performance and Cera making the most of his limited screen time, delivering some much needed laughs.
This is a film that isn’t shy about presenting its social commentary, tackling the financial and societal disparity between the ninety nine percent and the one percent, the healthcare system, and the current economic climate for the working class amongst other hot topics. The film admirably pulls no punches in this regard, putting its messaging front and center, right in the audience’s faces so they have no choice but to face it head on, an inspired choice that should strike a nerve to say the least. The way in which this messaging is interwoven into Ben’s story is nicely handled for the most part as he essentially becomes the hero of the ninety nine percent, inspiring those fearful of fighting back against a system they see as unjust. It may not be subtle messaging, but its effective nonetheless.
Unfortunately, this is a film that doesn’t know whether it wants to be a a dramatic thriller with social commentary or if it simply wants to be a fun, action-packed blockbuster. Due to an uneven script, the film never has a firm grasp on its tone, unable to embrace one or the other wholeheartedly, resulting in a genre film that has a severe identity crisis. This is heavily apparent in the third act where the film stumbles considerably, rushing its resolution and blunting the emotional impact of the story. Due to this tonal dissonance, the film is never nearly as fun or emotionally potent as it clearly wants to be, culminating in a frustrating viewing experience that not only leaves plenty of potential on the table, but plenty to be desired as well.
The biggest issue the film suffers from though is Wright’s singular and signature style getting lost in the noise. Though there are plenty of well-directed and bombastic set pieces throughout, none of them are particularly memorable, lacking style, panache and Wright’s razor sharp precision that has helped his most beloved films like Shaun of The Dead, Hot Fuzz and Baby Driver leave their indelible mark. His voice hardly ever shines through and when it does, it becomes painfully obvious that the film could’ve used far more of it to make it rise above other entries into this overcrowded genre. Wright is a director who has had no issue balancing the serious and the zany in the past, but here he forgets to let loose like his main character, bottling up what clearly needed to get out.
The Running Man had all the ingredients to be a unique, refreshing, emotional and highly entertaining sci-fi remake, but unfortunately it tries to juggle too many plates and loses its focus. Despite a winning performance from Powell and its timely, sobering commentary, Wright’s latest fails to register as anything more than forgettable, an upsetting disappointment from a filmmaker with such a strong, eclectic filmography and deep well of talent. Audiences will certainly be entertained, but that may be all they carry home with them as they head to the parking lot.