Edgar Wright’s The Running Man (2025) takes a swing at making a more faithful adaptation of Stephen King’s novel than the cheesy Arnold classic from 1987, but it lacks that movie’s cheesy charm and zany energy, making it far less entertaining or memorable than the original.
In this version of The Running Man, Glen Powell is Ben Richards, a desperate blue-collar worker living in the slums and in need of medication for his sick daughter. Unable to get a job, he auditions for one of the many game shows hosted by the corporate media that runs the country’s dystopian police state to try and earn some cash. Although initially against being on The Running Man due to its high death count, the money is too much to ignore, and he joins two other contestants for the show’s season finale hunt. One thing this version does offer over the Arnold movie is more world-building. The film takes the time to explore a more expansive universe, featuring other fake TV shows and offering a clearer view of how the United States is under the grip of the police state’s boots. However, the movie’s tone switches between wacky, absurd moments (like the outlandish TV shows like a Kardashians parody called The Americanos) and grimmer social commentary about the divide between the rich and poor, and how the media influences public perception and can use propaganda to keep people under control. This inconsistent tone makes the film feel disjointed, as it doesn’t fully commit to either the satire or the drama. If it had leaned more in one direction, it would have been a more consistent movie, and going darker and more serious would have been more in line with the novel and set it apart from the 1987 film.
One of the biggest missteps is that the film doesn’t feel like an actual Edgar Wright movie. The trademark rapid-fire editing, clever visual gags, and high-energy style that Wright is known for are practically nonexistent here. Instead, the film plays it safe, sticking to a more traditional, less distinctive style that could’ve been handled by just about anyone. For a director who’s made his name with films like Shaun of the Dead and Baby Driver, this feels like a missed opportunity to inject some of his trademark flair into a movie that desperately needed it and probably would have flourished with it.
The villains also don’t live up to the over-the-top, larger-than-life personalities that made the original so fun. Richards and the other contestants are hunted by “The Hunters,” but they are all bland and generic dudes in combat gear. There’s a slightly interesting idea that they use disguises to sneak up on Runners, but it’s really underdeveloped.  Josh Brolin leans into his role as the sleazy, morally ambiguous game show producer, always having another deal up his sleeze. Coleman Domingo seems to be having a blast as Bobbie T, the host of The Running Man, who gleefully perpetuates the network’s lies, although both of them combined still pale in comparison to the brilliant performance of Richard Dawson in the 1987 movie.
Glen Powell is a servicable action hero, and he’s mostly fun throughout. There’s a setup about him having anger issues that might make for an interesting thread throughout the movie, but it’s one of the many underdeveloped elements, mainly used during his rants, for his game-mandated 10 minutes of filmed content he must submit every day while on the run. Michael Cera pops up toward the middle of the film, bringing some quirky energy to the proceedings, playing a supporting character with his usual offbeat humor and offering a much-needed spark to the movie before the climax. Katy O’Brien is also fun in a slight but memorable role as Jenni Laughlin, one of Richards’ fellow contestants who decides to indulge in all manner of debauchery rather than really trying to run and survive the game.
Ultimately, The Running Man (2025) feels like an attempt to modernize a cult classic without understanding what made the original so great. It’s competent but forgettable, with lackluster villains, a flat directorial approach, and a tone that switches between wacky and serious. If you’re looking for a fun, bombastic action movie like Baby Driver or Hot Fuzz, this is definitely toward the bottom of Edgar Wright’s filmography.
