The Running Man (2025) Movie Review - Spoiler Free

Three contestants, thirty days, one billion dollars if they survive. All that stands in their way is you! Are you prepared for the hunt? Welcome to… The Running Man!

Genre: Action / Sci-Fi / Thriller

Director: Edgar Wright

Cast: Glen Powell, Jayme Lawson, Josh Brolin, Colman Domingo, Katy O’Brian, Daniel Eyra, Michael Cera, Emilia Jones, William H. Macey & Lee Pace.

Run Time: 133 min.

US Release: 14 November 2025

UK Release: 11 November 2025

German Release: 13 November 2025

Ever since news broke that Edgar Wright would helm the more faithful adaptation of King’s book, I have been impatiently waiting for this movie to hit cinemas. Don’t get me wrong, I am a huge fan of Schwarzenegger’s 1987 version, adoring that interpretation. However, with the director's unique stylistic fingerprint plus his eye for editing, I was genuinely excited to see how he’d reinterpret this gritty material. Well, it is finally here. I watched it yesterday, and… let me tell you… this might be the most generic of Wright’s productions. So, lace up and get ready to run with me through my review of The Running Man!

Based on the 1982 novel, set in a dystopian future where Ben Richards, a desperate man pushed to the edge, volunteers for a lethal game show, in which contestants need to survive by all means for thirty days, while pursued by "hunters" hired to kill them. The winner obtains a big cash prize. 

The script, penned by writer Michael Bacall and the regisseur, is sadly a mixed bag. There’s a genuine effort to honour the novel, especially in how it brings the socio-political and economic fractures of this dystopian world to the screen. The narrative nods to the growing class divide, showing how something as basic as cold medicine has become a luxury, or how the government televises brutality to pacify the working class. Yet, for all its ambition, the story never fully commits to digging into those themes, simply grazing at the surface.

While not perfectly delivered, the plot still offers a more anarchically angry social commentary than many of these blockbusters, visually depicting themes of class solidarity, as well as public rage. These are intertwined with a fast, relentless flow that perfectly captures the violent action, which quickly spirals out of control. Richard’s reason for joining the gameshow is relatable, turning it into an underdog story audiences can root for.

Another issue lies in the flick’s clashing tone, as it tries to juggle biting satire with light-hearted fun. Unfortunately, the two rarely blend, leaving several emotional beats unearned by sudden shifts in mood. This imbalance becomes especially clear in the final act, which is the script’s weakest point. The ending simply doesn’t deliver on the setup’s promise, deflating much of the momentum built along the way.

Conversations maintain the director's keen signature sense for sarcasm, which provides a solid, nuanced comedic undertone, suitable to the premise. Nonetheless, it moves at such a speed that it doesn’t give heavy moments time to sink in, while surface-level matter is constantly repeated.

The supporting cast, including Michael Cera, William H. Macy, plus Daniel Ezra, are highlights who help define the flick, balancing out some of its weaknesses. Unfortunately, their characters are barely scripted out on paper, leaving them as thin afterthoughts. 

Glen Powell steps into Arnold Schwarzenegger’s unitard, though this time he’s no revolutionary super-fighter, but an everyday man. Taken directly from the book, Ben Richards is a working-class father with a sick daughter. This instantly makes him relatable, and his motivation to join the network as a Runner feels justified, given his dire employment situation. Talking about Schwarzenegger, there is a fun little tribute that fans will appreciate.

Powell infuses the character with a rough charm that comes naturally, convincingly channelling his inner “asshole-with-a-golden-heart”; reminiscent of protagonists like John McClane from the first Die Hard. That said, he isn’t always given the material needed to explore the full emotional range the setup promises.

Josh Brolin’s Dan Killian, a charming yet sinister villain, gives an effectively slimy performance, but his talent is ultimately wasted by his disappointingly limited screen time. Coleman Domingo portrays the show’s host, Bobby T, delivering an energetic standout performance. He functions as a sort of secondary villain, twisting and deep-faking Richards’ recorded messages to manipulate public opinion. Much like the rest of the supporting cast, he isn’t granted much time to shine.

The Running Man was shot on Arri Alexa 35 cameras in a 2.39:1 aspect ratio, mixing both new as well as vintage lenses to achieve a rough, grimy aesthetic, sometimes at the cost of visual depth. The action is framed well for the most part, though it begins to lose some of its bite in the final act. Wright still injects flashes of his trademark kinetic energy, with creative match cuts and sharp editing rhythms, yet it is noticeably muted down. A shame, as more of his witty cinematography could have elevated the picture considerably.

In terms of effects, the movie leans proudly on extensive stunt work, blending it with modern digital compositing and VFX. The use of drone cameras becomes an effective stylistic touch, enhancing the sense of a film within a film, adding a voyeuristic, broadcast-like layer that suits the story’s media-driven dystopia.

The score effectively complements the film’s high-energy action sequences, but it makes surprisingly little use of the director’s trademark needle-drops, especially when compared to his earlier work. The sound design, however, steps up to fill that void, amplifying the breakneck tension and giving the action a visceral punch.

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Verdict: This was one of my most anticipated films of the year. I love Edgar Wright’s sharp-tongued sarcasm, his jabs at societal flaws, as well as his visually witty editing style that blends beautiful, jaw-dropping quick cuts with rhythmic assembly. Unfortunately, very little of that distinctive tone resurfaces in this second adaptation of King’s novel. The script barely grazes its themes of a media-controlled government, including its consequences for its populace, instead relying on exposition-heavy dialogue that reiterates the same surface-level points. Powell gives a believable rendition as Ben Richards, a desperate father in need of some money to buy medicine for his sick daughter. The cinematography, however, is the most disappointing aspect; shockingly generic, considering who’s behind the camera. In the end, this is an entertaining dystopian tale, but a disappointingly mediocre Wright picture. The Running Man obtains a 6.0  out of 10.

Have you seen this new iteration of The Running Man yet? Do you agree with my thought? Leave a comment below & thank you for reading.