This review discusses the full plot including the ending.

Edgar Wright's The Running Man arrives in 2025 with the gleam of a great idea and the slight slippage of a film that is very good at being fun without quite delivering the classic it aims for. Glen Powell is a natural star in the mode of Tom Cruise and Cary Grant, a man for whom physical competence and easy charisma are the same quality expressed in different registers. The film knows this and uses him expertly. Josh Brolin as Killian brings menace with a professional gloss. Emilia Jones as Amber Mendez holds her own as an action co-lead. The film looks spectacular and moves quickly for its first ninety minutes. Then the second half wobbles, and the wobble is revealing about what the film actually is and is not.

Ben Richards (Powell) is a soldier framed for crimes he did not commit. Specifically, he refused orders to shoot at refugees and was subsequently blamed for the massacre that followed. He is sentenced and entered into The Running Man, a television program in which convicted criminals are hunted by elite Stalkers in an elaborate arena for the entertainment of a pacified citizenry. If he survives thirty days, he goes free. No one survives. The show is rigged.

The premise comes from Stephen King's 1982 novel, written as Richard Bachman during the bleakest period of Reagan-era dystopian anxiety. King's novel depicts a broken, desperate man whose love for his sick daughter drives him past the limits of ordinary courage. Wright's film gives us a version of this premise filtered through the sensibility of the director who made Baby Driver, which means the aesthetics are extraordinary and the emotional register is somewhat cooler. This is not necessarily a criticism. Wright's cinema has always been about the pleasure of watching competent people do things at the edge of their capability. The Running Man provides ample opportunity for this.

The Stalkers are the film's best invention. Billy Magnussen as Subzero, Joel Kinnaman as Captain Freedom, Justin Hartley as Dynamo, and Pilou Asbaek as Fireball are each given distinctive visual design and combat specialization. The arena sequences involving them are the film's most purely enjoyable passages: Wright staging action with his characteristic precision, Powell demonstrating the same quality of physical commitment he brought to Top Gun: Maverick. The sequence where Richards improvises a weapon from arena materials to take down Subzero is the film's highlight.

The satire targets are where things get ideologically interesting. The Running Man is an anti-media film. It argues that entertainment television exists to pacify the population, provide emotional catharsis for class resentment, and prevent genuine political engagement with the conditions of ordinary working people's lives. The game show draws its contestants by lottery from the working poor. The winners are celebrated as heroes but secretly eliminated. The audience believes in a freedom that does not exist. Killian maintains the show's ratings through manufactured narrative and editorial control of which violence reaches screens.

Here is the thing that conservative viewers should know: this critique lands on both sides of contemporary American culture. The argument that powerful media institutions manipulate working-class audiences through emotional programming and manufactured outrage is not a progressive argument in 2025. It is an argument that has been central to conservative media criticism for a generation. Tucker Carlson and Rush Limbaugh spent decades making versions of this case about mainstream media. The Running Man's satire, adapted faithfully from King's 1982 novel, accidentally describes concerns that are as alive in conservative circles as progressive ones.

Where the film's progressive framing is most visible is in the refugee backstory. King's 1982 Richards refused to fire on rioters driven by hunger and desperation. The 2025 film updates this to refugees, a specific contemporary political flashpoint. The righteousness of Richards' refusal is unambiguous in both versions, but the contemporary update gives the backstory a more pointed charge in the current political environment. This is the screenplay's most deliberately political choice.

The second half's structural problem is the revelation that the game is rigged and the attempt to expose it. This section involves Amber discovering a hidden resistance broadcast, Richards and Amber transmitting evidence of the rigged games, and the population turning against Killian as the truth emerges. The tonal shift from kinetic action to conspiracy thriller is handled less confidently than the arena sequences. The resolution feels slightly rushed. Killian's demise is appropriately satisfying without being particularly inventive.

What Wright gets right, and what the film shares with all of his best work, is the genuine pleasure of watching a man who is very good at a very difficult thing. Ben Richards wins not through superhuman ability but through determination, improvisation, and an absolute refusal to accept the rigged rules of a rigged game. This is an individualist triumph over a corrupt system, rendered in the most slickly entertaining possible terms. The truth is exposed. The system is embarrassed. The man with nothing to lose but his integrity walks out alive. These are traditional story values expressed through a progressive anti-authoritarian framework. The contradiction is not resolved, because King never resolved it either.

Trope	Category	Location	Authenticity
Media as Oppressor	WOKE	Throughout — The Running Man show as tool of state control; the media corporation and government are co-conspirators in manufacturing consent through entertainment	Organic to King's 1982 novel. The anti-media critique is the novel's entire thesis and is faithfully preserved. The target is entertainment media and corporate power, not specifically conservative politics.
Class-Based Conscription	WOKE	The lottery system throughout — working poor disproportionately drafted into a death game while upper classes watch safely; Richards comes from the underclass	Organic to King. His original novel was explicitly about class warfare. The film preserves this framework faithfully.
Refugee Framing	WOKE	Richards' backstory — imprisoned for refusing orders to shoot at refugees; the contemporary update of King's 'rioters' to 'refugees' is the screenplay's most politically specific choice	Forced. King's 1982 novel uses rioters driven by food insecurity. Updating to refugees in 2025 is a deliberate political choice that maps the backstory onto contemporary immigration debates.
Institutional Corruption Exposed	WOKE	Second and third acts — the game's true nature (rigged, no winners) is exposed; the government-corporate media collusion is revealed to the public	Organic to King. Both conservative and progressive audiences can claim this target: the corrupt institution can be read as corporate media or as government overreach depending on your lens.
Sympathetic Progressive Framing	WOKE	The show's audience initially complicit in cheering for murder; when the truth is revealed they turn on the system; the masses are portrayed as manipulated rather than genuinely bloodthirsty	Mixed. The redemption of the audience from manipulated accomplices to righteous rejectors of the system is a progressive narrative of mass awakening.
Individual Courage Against Corrupt System	TRADITIONAL	Ben Richards throughout — one man's refusal to accept a rigged game, to perform on cue, to die on schedule; he wins through determination and individual will	Authentic. This is King's traditional individualist hero framework, shared by conservative libertarianism and progressive anti-authoritarianism alike.
Truth Prevails	TRADITIONAL	Climax — Amber and Richards broadcast evidence of the rigged games; public turns against Killian; the lie cannot survive exposure	Authentic. Truth destroying a comfortable lie is as traditional a moral as storytelling offers.
Romantic Fidelity and Partnership	TRADITIONAL	Ben and Amber throughout — she begins as coerced accomplice, becomes genuine partner; their relationship is built on shared danger and mutual respect	Authentic. The romance is earned through shared adversity rather than manufactured chemistry. A traditional narrative development.
Masculine Competence	TRADITIONAL	Every arena sequence — Richards wins through superior improvisation, physical courage, and refusal to accept the rules of a rigged game	Authentic. Glen Powell brings genuine physical commitment. The film celebrates masculine competence without apology.
Justice Over Rules	TRADITIONAL	Richards' original crime and his survival strategy — he broke military rules by refusing an unjust order; he breaks game show rules to expose the truth; both violations are framed as morally correct	Mixed. The film distinguishes between legal rules and justice, which is traditional in its respect for natural law over positive law.
Anti-Authoritarian Heroism	TRADITIONAL	Throughout — Richards refuses to be executed on schedule, to perform on cue, to die for ratings; his insurgency is against a specific government-corporate collusion	Organic to King's novel. Conservative viewers who reject government overreach can claim this hero as readily as progressives can.