SummaryIn a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, wo...
SummaryIn a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, wo...
It’s perhaps Wright’s first feature to feel, in a positive way, like the work of a director for hire: every flourish and trick here isn’t in service of a singular creative vision so much as a great, rumbling excitement machine.
The Running Man does also offer a more anarchic message than we might be used to from our standard Hollywood blockbusters, but that message gets drowned out, leaving behind a loud violent romp that's almost a bit too on the nose for these loud violent times of ours.
A great movie, a great book.
The ending is even better than in the book, a happy end.
People gave it bad reviews because they don't like the revolutionary message.
Viva revolution and
Richards live!
Wright’s flair for freakazoids remains undeniable, but his focus on rebellion obscures the cruel machinery that incites it. That reluctance to linger too long in the muck of this world—to give perceptible shape to the apathy that creates this level of soulless greed—leaves Ben fighting an abstraction. It’s a devil we’re familiar with, just not one this film is willing to face head-on.
Edgar Wright’s new big-screen adaptation is fittingly but awkwardly timed. Arriving in the year of King’s imagined dystopia, its near-future has little in it that isn’t already plausible today, making this “Running Man” — while fleet of foot in action — feel a step, or two, behind.
The Running Man, directed by Edgar Wright and adapted from Stephen King’s 1982 novel of the same name, is dark all right. It’s also garishly obvious, and though it grabs for laughs here and there, it has almost zero wit.
It all ends with a grossly emetic monologue about how evil mass media is trying to “make us hate each other so they can steal from us”. And The Running Man is not part of the mass media how? Still, who doesn’t love Shaun of the Dead?
I think it is quite good even for that one scene that I think many people object to. I buy that scene anyway. It does not diminish the movie for me. I like the movie, I like the actor playing it, and I think the way it ended did not diminish despite that controversial scene.
Ну, фильм начинается сразу с провальных сцен. Наш "бегущий" герой Бен, белый мужик женат на чepнoкoжей. На мой взгляд это уже провал. Как бы не хотели демократы США показать всему миру равенство и братство, всех это только бесит, потому, что это ложь! В том же "Fallout" союз гуля и чepнокожей женщины удалось замылить только благодаря весёлому сюжету и аутентичной атмосфере. Хотя и они стояли на грани. И так мы имеем банальный сюжет. "Моя дочка заболела, а пойду ка я на самоубийственное шоу, на котором за много лет ещё ни кто не выжил, деньжат заработать." При этом, это спойлер, дочечка выздоровеет сама безо всяких денег, что вообще как то обесценивает поступок нашего "героя". И так Бен должен прожить с двумя напарниками-имбецилами 30 дней в городе, в котором на него все охотятся. И если в оригинальном фильме со Шварценеггером за его напарников как то хочется переживать, так как это были такие же невинные люди которых принесли в жертву на потеху толпе в шоу, то здесь это реально имбецилы которых хочется убить самому. К тому же этих "напарничков" просто убили не дав им никакой истории. То же касается и нашей невольной подруге по несчастью, не помню имени, которая нас вроде как и сдавала в оригинале. Но если в фильме 1987 года это целая история, с презрением, недоверием, принятием, дружбой и даже любовными нотками в финале. Здесь же нам на голову к концу фильма навязывают какую то бабу которая вдруг к нам проникается пониманием, ну и всё. Интриги нет напрочь. С самого начала понятно, что жена нашего героя естественно жива и даже здорова. Ведь чернокожих женщин убивать в кино запрещено по конституции США. Охотники как по мне вообще не получились, они безлики и не интересны. Ближе к концу фильма наш герой, яко бы перед смертью, просит снять маску одного охотника и показать своё лицо, на что тот естественно отказывает. Но ведущий всё же заставляет охотника это сделать, тот снимает маску и ..... Ни хрена! Кто это? Я его не знаю, он меня не знает, в чём интрига то? Короче, да, фильм снят неплохо, эффекты проработаны хорошо, но на этом достоинства заканчиваются. Герои не интересные, сюжет тупой. И в отличие от тех же ремейков: "Вспомнить всё" и скажем "Судья Дредд", ремейк "Бегущий человек" не содержит в себе ничего интересного. Смотреть можно, но не обольщайтесь. Фильм на один раз.
The Running Man hits theaters carrying a rare kind of expectation: that of a remake that audiences really wanted to see happen. The combination of a Stephen King work, an 80s film limited by its technology at the time, and a director like Edgar Wright seemed perfect to bring freshness to this story. Add to that Glen Powell, currently one of Hollywood's most charismatic actors, and everything pointed to a project ready to deliver the best of both worlds: authorial energy and a new layer of social relevance. That's why the end result feels so ambiguous. The film is far from a complete disappointment, but it also falls well short of its **** Running Man is better than the 1987 film, especially for its updated premise and sharp cast. It has good scenes, competent effects, and ideas that, in isolation, work very well. The problem is the whole. The work always seems on the verge of becoming something bigger, something bolder, but never takes that step. It's a film that gets the style right but slips up in its development; that presents strong themes but treats them only superficially; that has creativity at its disposal but uses it only halfway. The result is a remake that fulfills its basic function but leaves you with the feeling that it could have been the great film it promised to be.
The Running Man (2025) is a shockingly disappointing effort from auteur director Edgar Wright. His trademark editing, witty dialogue, and snappy pacing are all conspicuously missing. Instead, they're replaced by a frustratingly rushed first act, an abruptly interrupted finale, and poorly acted side characters who always manage to derail a moment. Glen Powell does his best to hold all the pieces together, and there are real bright spots when the hunt is at its peak, but it's all too much to overcome. Halfhearted critiques of the media and AI-powered deceptions aren't much to engage with either. It's safe to run far away from this one.
I really wanted to like this movie, but it just didn't work for me. I usually really dig a retro futuristic look, but in this context it didn't add anything to the film. It was like Edgar Wright was hyper focused on making a better more faithful to the book adaptation then the 1987 movie, but made it in way to feel contemporaneous to the original, which seems pointless. There are some subversive under tones, that speak to the issues we're dealing with in the really world, but Glenn Powell seems like the worst possible messenger for that kind of stuff that I can think of.