The Running Man (2025) marks the second adaptation of Stephen King’s 1982 novel, following the 1987 film, with a modern edge. Directed and produced by Edgar Wright, with a script by Wright and Michael Bacall, the dystopian action thriller stars Glen Powell in a role that pushes him into gritty territory. While critics have offered mixed reactions, I found the film far more gripping than its overall reception suggests.
Set in a bleak, authoritarian future, the story focuses on Ben Richards (Glen Powell), a man framed for a crime he did not commit. Due to this, he is forced to compete in a deadly government-run reality show where contestants must avoid professional killers for viewer entertainment and for the chance to win one billion pounds, a prize Richards desperately needs to help his daughter and better their lives.
For me, the plot was genuinely captivating. It hooked me early and kept me engaged throughout, particularly as the film’s exploration of media manipulation. At times, it felt as though the viewers watching the movie were just another layer of the audience cheering, judging, and consuming the spectacle.
The cast played a significant role in this, beginning with Glen Powell, who grounds the film with a compelling mix of strength and vulnerability. The others like Emilia Jones (Amelia Williams), Lee Pace (Evan McCone), Josh Brolin (Dan Killian), Daniel Ezra (Bradley Throckmorton) all add to the movie, as they create a world that feels dangerous and real.
Wright himself has been clear about his vision for the project and his approach to adapting King’s novel. In an interview with The Hollywood Reporter, he explained: “Yeah, I read the book when I was about 14… By the time I saw [the 1987 film], I was very aware that the film, whilst really entertaining, was radically different to the book… That’s why I hesitate to use the word remake with our Running Man because I really think it’s a new adaptation of the same source material.”
He also acknowledged the legacy of the original film:
“It does have a passionate cult following that I’m very aware of, and I would hope that the people who love the 1987 film would love this. But I don’t think that factored into it as much as me knowing that there was a different movie in the source material.”
Edgar Wright, director of The Running Man (2025)
And when discussing the nature of remakes and adaptations, Wright added: “The best remakes… are where you’re doing something radically different with it… When there are remakes that feel like a shot-for-shot remake, I wonder, ‘Why even bother?’… This felt like a fresh movie because the source material hadn’t been fully adapted, and most of the characters in the book are not in the 1987 film.”
These quotes underline Wright’s respect for King’s original intent and help explain why this version leans more toward commentary than pure spectacle.
Despite a respectable 64% critic score, The Running Man has been labelled a “career low” for Wright and a weak point for Powell by some reviewers.
But honestly? I think the film is better than the reviews suggest. I found it tense and consistently engaging. The story pulled me in and the performances kept me invested. The Running Man remake divided audiences, but I came away impressed, absorbed and wanting to discuss it more.