The Running Man: Edgar Wright’s remake of “The Running Man” is a fantastic satire

As someone who loves to go to the movie theater in person, one of the worst feelings is drinking too much of a weird-flavored fountain drink before the movie starts and having to suffer the consequences throughout the runtime. Whenever I have to leave a movie for a bathroom break, I get an impending feeling of doom at the thought of missing a crucial moment. 

Despite drinking all of my mediocre raspberry Dr. Pepper during the previews, I didn’t move once while watching Edgar Wright’s new film “The Running Man.”  

The movie is based on the dystopian Stephen King novel of the same name. The story follows blue-collar worker Ben Richards — played by Glen Powell — as he attempts to pull his family out of poverty and save his ill daughter by playing the deadly game show, “The Running Man.”  

The game show involves participants willingly submitting to being hunted to death for a month, with a grand prize of $1 billion if they survive. The entire premise is a brilliant commentary on consumerism and the risks of a controlling government, as the contestants who enter are all lower-class and on the brink of bankruptcy. 

The novel is deeply political, but when the film was first adapted in 1987, that commentary was smushed. The concept was ruined by classic 80s action tropes of one-liners and poorly written female characters whose sole purpose is to look good in the arms of starring Arnold Schwarzenegger. 

I was relieved to find that the 2025 version stayed true to the novel, with some heavy-hitting remarks on corporate greed and government corruption delivered in a direct, yet comedic, fashion. 

Before every airing of “The Running Man” game show, the studio plays pro-American propaganda with quotes like “we all know America is the greatest country in the f***ing world.” This satirical comedy is incredibly effective at establishing the ideals of Richards’ world while mirroring the propaganda we see in American politics today. 

Powell nails the lead as the rugged but empathetic character of Richards. I’d previously seen him in “Twisters,” “Top Gun: Maverick” and “Hidden Figures,” but his performance in “The Running Man” is by far his best performance so far. 

The emotional range Powell portrays as Ben Richards is astounding for someone who was previously only ever cast as a heartthrob. Of course, he still is, but “The Running Man” showcases his full potential, with many dark moments for his character. 

Despite the darkness, there are still plenty of funny and comedic moments in this otherwise dreadful reality, which Powell balances in a realistic manner; his character is 100% believable. I had no idea Glen Powell could act that well. 

Apart from Powell, the supporting cast is stacked: Josh Brolin plays the twisted executive producer of the show, Dan Killian, with just enough swagger to make you love and hate him at the same time. 

But the real show-stealer was Michael Cera as the underground activist Elton Parrakis. Parrakis helps Richards run from the show’s bounty hunters with his booby-trapped house and goofy personality; he was memorable and stood out from the film’s serious characters. 

The original ‘80s film only had one female character whose only purpose was to be ditsy and sexy. I was happy to see Jayme Lawson have character depth as Powell’s spouse, forced to work as a waitress at a gentlemen’s club to support her family.

Moreover, Emilia Jones plays Amelia Williams — an upper-class citizen whose car Richards steals to move safely through the states. Williams is fully enveloped in the propaganda spewed to her from the news and believes the awful things the show tells her about Richards. She eventually realizes the truth and becomes an important character to progress the plot by helping Richards.

Wright, the director of the film, was easily the best choice for the job. Wright had previously made “Baby Driver,” a movie I watched 20 times in one month, so I knew I had to check out “The Running Man” as soon as possible. 

Wright’s style of fast-paced plots and quippy dialogue gives little breathing room for both the characters and the viewer. That kind of pacing is an excellent choice for “The Running Man,” which keeps the viewer’s knowledge limited to Richard’s perspective by only following him. This leaves the “I can’t miss anything” factor alive and well — it never slows down. 

The film’s abrupt ending caught me off guard, but after some reflection, it’s fitting for how quickly the rest of the movie went by.

“The Running Man” is definitely an experience for the big screen, and I plan to see it again before it heads to streaming. But next time, I’ll make sure to take it easy on the over-priced beverages.