Cliff Notes – The Running Man might be the new jewel in Glen Powell’s cinema legacy

Glen Powell solidifies his status as Hollywood‘s leading man in the 2025 remake of The Running Man, portraying the character Ben Richards in a more faithful adaptation of Stephen King’s original story.
Directed by Edgar Wright, the film features a blend of action and humour, with notable performances from Colman Domingo and Josh Brolin, although some critics feel the talented Katy O’Brian is underutilised.
The film’s themes of authoritarianism and media manipulation resonate strongly in today’s context, making it a relevant dystopian satire despite some storytelling inconsistencies.

The Running Man might be the new jewel in Glen Powell’s cinema legacy

Glenn Powell has confirmed his status as Hollywood’s new leading man in the remake of The Running Man (Picture: Ross Ferguson/ Paramount Pictures via AP)

Even Arnold Schwarzeneggar, always said his lurid 1987 movie of The Running Man was ripe for a remake.

Loosely based on a Stephen King story and set in the dystopian future of 2017, Arnie’s star vehicle was mainly memorable for the awful, shiny yellow Babygro they somehow managed to squeeze him into and some truly excruciating one-liners – e.g. where Arnie cuts a baddie in two with a chainsaw, then quips ‘Aw, he had to split.’

This smart, fast-paced, action-packed 2025 reboot sticks closer to Stephen King’s book. Our hero is still Ben Richards, now played by Glen Powell.

A righteous, but angry everyman, Ben is continually fired from construction/mining jobs for sticking it to The Man. Desperate to pay for costly meds for his sick little girl, Ben takes a high-risk gamble. He signs up to ‘Running Man’, a popular TV game show where contestants must stay on the run for 30 days in the hopes of winning $1billion. If a contestant gets spotted and caught by one of the bloodthirsty ‘Hunters’, they will be executed, live, on air.

First up let’s just give a big up to Glen Powell. The Twisters and Top Gun: Maverick star here 100% confirms his status as Hollywood’s new go-to leading man.

Sure, he may not entirely convince as an underclass hero: handsomely buffed with gleaming white teeth, he looks less like a downtrodden everyjoe and more like a guy who’s spent a lot of time in an exclusive LA gym. However, we instantly like him, we care about him and we root for him.

Also shout-outs to a scene-stealing Colman Domingo’s TV host (the equivalent of Stanley Tucci’s Caesar in The Hunger Games) and Josh Brolin as the slippery mogul behind the evil red ‘N’ media empire (not Netflix, but cheekily close).

I can’t quite forgive the under-using of Katy O’Brian – if you’ve got a brilliant stunt actor like that in the cast, wouldn’t you want her to do some more brilliant stunts?? But Michael Cena is, as ever, terrific value in a cameo role that sees him unleash a superb set piece in a booby-trapped house that film maker Edgar Wright perfectly describes as ‘Home Alone meets Straw Dogs.’

The dystopian action thriller film is an adaptation of Stephen King’s 1982 novel (Picture: Ross Ferguson/ Paramount Pictures via AP)

It follows players in a game show who must evade a team of murderous hunters for 30 days to win $1billion (Picture: AP)

The British director who delighted audiences with the likes of Shaun Of the Dead and Baby Driver, Wright here ramps his Hollywood ambitions.

With a rumoured budget of $110million, this is his biggest and most straight-forward movie to date. And though it may not be his finest – the storytelling is kind of bumpy – it’s still got Wright’s fingerprints all over it.

The original starred Arnold Schwarzenegger (Picture: Snap/ Shutterstock)

What that means is a trademark combo of action and humour; a needle drop soundtrack; a clutch of fan-pleasing Easter eggs (watch out for the hilarious show-within-show Kardashians spoof , ‘The Americanos’); a satisfying amount of BFEs (Big F***ing Explosions); and a huge beating love of genre.

Originally penned by Stephen King in 1972, the central ‘faked news’ concept feels more relevant now than ever. Uncanny in predicting how TV would evolve, it is still, at heart, an old-school dystopian satire about an authoritarian state that’s cannily positioned not to upset the right or left (both of which will likely claim it as their own).

Yes, the third act gets a little convoluted, but you’re powered to the finish by Glen Powell’s absolutely unstoppable star charisma. And did I mention the memorable set piece where he’s nearly naked?

For many, happy, viewers this will go down in the annals of cinema as the ‘Glen Powell in a towel’ movie.