A extreme survival show set in a futuristic city, and unrelenting action. Glen Powell's new film "The Running Man" returns to theaters this winter with explosive energy.
"The Running Man" (director Edgar Wright, imported and distributed by Lotte Entertainment) is a chase-action blockbuster that unfolds when Ben Richards (Glen Powell), a laid-off family man, participates in a global survival program and must survive for 30 days while evading pursuit by brutal hunters for a large cash prize.
The setting of a future city where the gap between rich and poor has deepened and survival has been gamified vividly realizes a world where the boundary between reality and TV shows has collapsed, offering a new level of immersion. In particular, the device that allows the public to report contestants' locations in real time and intervene in the game adds a distinctly fresh fun compared with traditional survival genres.
Above all, the film's charm lies in how director Edgar Wright refreshes material that could be heavy and brutal with his signature rhythmic direction. Even in moments when chases and deaths might feel cruel, the bouncy BGM and his comic rhythm keep the film from sinking into darkness. Thanks to this "tone control," audiences can fully enjoy the unique sensibility of "The Running Man," which maintains a cheerful beat amid the thrill and tension.
At the center of the narrative is a message that goes beyond mere survival. The film quickly and without being overly pedantic reveals how numb modern people living in the media age have become to stimulation, and how even someone's death can be reduced to an object of consumption. Above all, within the film's relentless, "running" structure, the message seeps in lightly and leaves a natural aftertaste for the audience. The repeated images of fierce competition and racing, and the way the film asks "why do we have to run like this," are also impressive.
The 133-minute running time is also not a drawback for "The Running Man." Messages are naturally placed between nonstop action sequences to regulate pacing, and the combination of rhythmic editing and bold development carries the long duration like a moment. Even viewers who find long running times burdensome will likely feel that "time passes quickly" in this film.
Action is the film's decisive punch. Glen Powell performs most of the high-intensity action himself, proving that overseas reactions calling him "the next action star to follow Tom Cruise" are not exaggerated. Chases, building action, close-quarters fights and other actions of different scale and style follow in a varied way, and witty sequences placed throughout make the film's rhythm more buoyant. In addition, the villain lineup led by Coleman Domingo and Josh Brolin anchors the film's weight with a powerful presence.
Because the story is large in scale and the setting is flashy, there are points where realism can loosen, but "The Running Man" from the start focuses on turning that unreality into pleasure. The director's characteristic sense of speed and daring direction integrate this smoothly, and ultimately audiences get a powerful cinematic experience that is easy to enjoy with their minds cleared.
"The Running Man" is a work in which intense energy, an original world view and the explosive action led by Glen Powell are perfectly combined. For viewers seeking a refreshing catharsis, it is unquestionably a must-see choice this winter.
Dec. 3 opening, rated 15 and older, 133 minutes.
[Photo] movie poster, stills
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