Glen Powell Tries to Outrun the Horrors of the Future in Latest Stephen King Adaptation
DIRECTED BY EDGAR WRIGHT/2025
2025 has become a year packed with Stephen King adaptations. With entries ranging from Osgood Perkin’s The Monkey earlier this year all the way to Francis Lawrence’s more recent – and critically acclaimed – The Long Walk, there has been an influx of projects based on the veteran author’s work. Rounding out the season is Edgar Wright’s own interpretation of King’s 1982 classic novel: The Running Man. Published under the pseudonym of Richard Bachman, King crafted a dystopian society inspired directly from the shifting tensions of a politically turbulent 1980s America. Perhaps more recognizable than King’s novel is the original 1987 Arnold Schwarzenegger cult classic darling. Through the vessel of a homicidal reality television, King wrestles with the complexity of class inequality, government censorship, the power of media, and authoritarian power.
Ben Richards (Glen Powell), a hot-headed working-class stiff, has found the end of an already short rope. His employment history is blemished with endless cases of insubordination, and the latest infraction has resulted in a permanent blacklisting. Unfortunately for Richards, unemployment is far from a valid option. His two-year old daughter is sick with a flu strain that is killing off the poor, so he needs the money to afford the high-cost pharmaceuticals that could save her life. His wife Sheila (Jayme Lawson) is managing to scrape by working back-to-back waitressing shifts at a seedy nightclub, but it is not nearly enough to keep their child alive.
Confronted with this helpless situation, Richard’s impulsive decides to apply for a spot on one of the many Network reality shows. All applicants must undergo a systematic series of mental and physical aptitude tests designed to fit each potential contestant with the proper program. Thanks to the meddling efforts of sleazy Free-Vee producer Dan Killian (Josh Brolin), Richards is one of three competitors chosen for a spot on the most dangerous show of all: The Running Man. In order win the cash prize of $1 billion, they must survive 30 days while being hunted by a team of professional assassins, led by the sinister masked McCone (Lee Pace). On top of that, the entire public population is highly incentivized to record, report, and even kill these contestants. Game on everybody.
If audiences are expecting an action fest, they will certainly be pleased at the danger our protagonist is put through. In the span of an hour he survives several gunfights, blows up a hotel building, takes a civilian hostage, and attempts to hijack a plane. Through it all, chic game show host Bobby T (Colman Domingo) narrates every gory detail with sadistic joy. As the days pass, Richards becomes aware of the coporate machine operating behind the scenes. Killian himself admits it: the game has always been rigged. The Network has their eye on Richards, and they are forming plans to capitalize off of his public popularity. It is up to Ben to decide whether he wants to be another cog in the machine or to make a defiant stand against his corrupted society
To my own personal delight, the opening scenes are gratefully void of any cartoonish villains with absurd gadgets and quippy catchphrases. This modern version has abandoned the typical 80’s cheesiness for a more grounded approach. This is perhaps the most creative restraint Wright has ever demonstrated on a project. That is not to say his signature flair for the absurd doesn’t occasionally seep through the cracks, but it is muted compared to his previous original works. Style is sacrificed for substance and Wright does an admirable job respecting the source material.
It does not hurt that Wright has such a strong lead actor headlining his film. Where Schwartzenegger’s performance relied on sheer physical prowess, Powell brings the human element to the rugged Richards. He imbues a more every-man quality to the unexpected hero, which works entirely in his favor. What he may lack in intimidating physique is certainly made up by sheer charisma. It is glaringly obvious that Powell has dedicated both his mind and body to this project as he throws himself into the grueling action sequences. There is just one glaring flaw in his performance here: Glen Powell is just too nice. For someone who is routinely described as recklessly violent and aggressive, Powell does not have that threatening quality. Luckily, the extensive list of supporting cast members step in to share the weight when their star stumbles. Domingo is an obvious stand-out with his dazzling rendition of an unempathetic showman. Michael Cera has a brief but memorable appearance as the jittery insurgent Elton, who attempts to convince Richards of his vital role in the cultural rebellion. Wright is no stranger to an ensemble, and he manages them expertly.
The passage of time has eaten up the space between the present day and The Running Man’s bleak society. In the 21st century, less and less dystopian works feel uncomprehensible. Outside of a few minor details, this futuristic film strays feels timelier than it should. That fact alone is a gateway to intriguing conversations about the novel’s relevancy nearly forty years later. However, Wright’s lackluster attempts to tackle the social commentary in King’s work are mediocre at best. Warnings about the wealth inequality and unrestricted government powers are delivered in between quippy jokes, which diminishes their impact. The underlying discussion about media manipulation feels so contemporary in today’s political climate that it very nearly pulls one out of the film entirely. At the very least, Wright is on the right path by categorizing each of these issues as deeply concerning and the worrying symptoms of a flawed society.
The Running Man begins at a brisk jog, builds up into a run, discovers how to settle into its pace, and then breaks into a heart-pounding climatic fight scene. Powell has enough self-confidence to carry the film for its entire two-hour runtime. Couple that with Wright’s expert understanding of crafting action sequences and the general audiences a sure to have a mild enough opinion on latest King adaptation.