THE RUNNING MAN (2025)

 

Directed By: Edgar Wright 

Written by: Michael Bacall and Edgar Wright 

Based on the book by: Stephen King 

Cinematography: Chung-Hoon Chung

Editor: Paul Machliss 

Cast: Glen Powell, Josh Brolin, Michael Cera, Colman Domingo, Alyssa Benn, Sean Hayes, Lee Pace, Katy O’Brian, William H. Macy. Emilia Jones  

A man joins a game show in which contestants, allowed to flee anywhere in the world, are pursued by “hunters” hired to kill them.

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Where to begin with this one? First off, let me say that I am a huge fan of director Edgar Wright. Though I have to say this is his most disappointing film from a personal standpoint.

Though it is not his fault, but throughout the film, the only time the film seems to have his madcap energy and directing prose is really in the scenes with Michael Cera. Which is where the film feels fun and unpredictable. Which is what you are kind of expecting the whole film to be.

This version plays supposedly a little bit more to the original book by Stephen King then the previously filmed the version of it starring Arnold Schwarzenegger.

I can’t really say because I’ve never read the book .

Though while this story seems like it would do well on the big screen I prefer the previous version of the film maybe because while not sticking exactly to its material it does play well as a satire Moore in the 1980s of what the future might be 

Whereas watching this version of the film, the satire feel somewhat dated and beat you over the head with a message that I think or would hope most viewers already enough and furthermore, this film just feels like it didn’t need to be made. It just feels like such a big budget Entertainment but yet it lacks the death.

Worst of all, even though Edgar Wright, cockroach and directed the film other than the Michael Cera scenes this film felt like it could’ve been made by anybody any director worth their weight as that is how uninspired the story and visuals come across it just all feels colorful yet basic 

Now don’t get me wrong the film is perfectly entertaining for a popcorn movie but again if you’ve already seen the original from the 1980s, this is just a retread that has been updated and seemingly to have more action instead of inside of a studio more in the world and the villain has changed from the game show host to the CEO behind the scenes 

Most of the major actors seem more like they’re doing cameos that were done all for the paycheck and we’re finished in a day or two, though they are stitched into the film and storyline to be major players

The lead played by Glenn Powell does try but this feels like a film that definitely needs a known star who has a history within the action genre so you already know they can pull it off whereas Glenn Powell is a star who is somewhat known but does not have a big screen personality he is more of an actor so this every man surviving comes across more as a concoction, and then letting the audience believe it also, even though his character is supposed to be this angry man full of rage and that’s why he keeps surviving. The problem is that Glenn Powell comes across as such an affable guy you can understand his anger, but you don’t believe that he has that much built up inside of him that is just keeps pushing him ahead. He just seems like your average decent guy now whereas in the past, that would work for an action hero to be identifiable here it makes it seem all the more implausible.

Now while the film is never truly boring, it doesn’t run a bit long and could’ve easily been shortened by 20 minutes as it feels like the film just wanted to give you more action and that’s really the only reason for the length of time whereas the story could’ve been told a little bit shorter.

Especially when they have scenes devoted to a seemingly satire of the Kardashians throughout, which seems there as alternative programming for viewers in the film to watch, as it is at least more innocent and less violent than most of the game shows that are presented as well as to just make fun of reality shows in general in the end feels unnecessary

Throughout this review, trying not to compare the two but also the introduction of a third act character who truly proves integral to the whole film feels random at best  and at worst like lazy storytelling that had to be put there because it was part of the story of the original and in the book. Has even as it seemed to pre-date AMERICAN GLADIATORS at least the villains. The hunters had personality whereas here, though they could be compared to ice they feel a bit more random and mysterious again, typical villain, who each seem to have a look, but only to come across in costume.

This one tries to be different and while it is much different then the original screen version and manages to set itself apart. It’s not necessarily for the better. When it’s difference really doesn’t help it and makes the co promised version we got, just a bit better. Even if it let the book’s fans down and not one of its stars favorite films. As he feels the movie is filmed too flat.

As by now there have been so many copycats, we borrowed from this story in plot and managed to do better and impress, and also do mean and go to the worst offenses of exploitation It’s pretty much hard to impress or top at this point.

It’s quality entertainment as long as you don’t have your hopes up .

Grade: C+

SPARTAN (2004)

Written & Directed By: David Mamet
Cinematography By: Juan Ruiz Anchia
Editor: Barbara Tulliver

Cast: Val Kilmer, Derek Luke, Kristen Bell, Tia Texada, Stephen Culp, Clark Gregg, Ed O’Neill, Aaron Stanford, Geoff Pierson, William H. Macy, Said Taghmaoui, Zosia Mamet

Maverick Ranger Scott, known for ruthless, unorthodox methods but good results, is called in to help the secret service after Washington big whig’s brat daughter is abducted while studying at Harvard. Scott quickly realizes the protection detail’s prime suspect, her boyfriend Michael Blake, is innocent and dumped her for being a drug-addicted slut. Next, he traces her to a bordello, only to realize the captors didn’t realize who she is but simply recruited her for the Middle Eastern white slavery market, and are likely to dispose of her rather than confront her father. But instead of the support expected in such a high-profile case, Scott gets orders to work in secret before the press catches on, and even finds his quest sabotaged.


This is a tight and taut film. Like a clock with airtight precision. It is also a strange film that has a rhythm and beat all its own.

It’s a top-notch thriller with a good story that plays small and close to the chest rather than a grand conspiracy blockbuster, but when you think you have it figured out. A twist you honestly didn’t see comes, then another one, then another one.

Truthfully I wouldn’t expect any less from playwright-writer-director David Mamet. Though I must say that while this is good. it is one of his lesser works. Which considering the excellent standing of his previous films isn’t bad.

His films specialize in sleight of hand movies. These days though he seems to take stories where you know and subvert them so you care more about the characters, their rapid-fire dialogue, and line delivery which have hidden meanings. Characters’ faces rarely betray emotion but do say so much with simple gestures and tone.

This film is noteworthy for a few reasons. It’s one of the closest Mamet will ever get to mainstream entertainment blockbuster type. Which is the direction. he has a top-notch low-key cast. Val Kilmer is the lead for one of the few times that a film he appears in makes it to the big screen. He really doesn’t get enough credit for how good an actor he is.

The film moves at a slow pace which adds to the slow burn of scenes, it is ultimately rewarding and gives the film more nuance. As it fleshes out characters. Which in other films would be strictly one-note. Mamet shows the procedures and what motivates their actions and reactions. So that you don’t get too far ahead of the lead, but doesn’t not leave you behind him in some scenes.

This film has action but is low on it. A fight scene for instance is started, but the camera stays on the face of Val Kilmer. while he watches it instead of on the actual action. So you can use your imagination to fill in the blanks while hearing it. Then you see the aftermath of the fight.

David Mamet performed rewrites during production using nothing more than a typewriter on a cardboard box between takes.

Except for a single day on a soundstage, the film was shot exclusively at practical locations.

Producer Art Linson and David Mamet were having lunch when Linson informed Mamet that he could not get anything more than a no-frills budget for the movie. Val Kilmer was literally at the next table. Linson knew Kilmer and asked him to come over, and they talked about the production. Kilmer was so impressed with the story and Mamet’s vision that he agreed to the role of giving a significant discount to facilitate Franchise Pictures giving a green-light to the production.

The film might be an acquired taste as I went to this film with one of my constant film companions my female cousin who was bored and really didn’t like the film. While I was quite captivated throughout

I don’t want to spoil too much, that would spoil the experience of seeing it with open eyes. Which I believe is where much of the film’s enjoyment lies.

One of the problems, with the film, is that one character does who is very close to the lead. When it happens he shows no emotions, but later when a character dies who the lead barely knows he tears up like a baby, delayed reaction as the person was hardly innocent. It feels out of place.

David Mamet incorporated a number of real-life experiences from various U.S. special forces members for the production, including Eric L. Haney who had served in highly classified operations during his 20-year military career. Haney’s experience included front-line combat units as a combat infantryman, as an Army Ranger, and as a founding operator within the elite Delta Force under Colonel Charlie Beckwith.

These experiences helped Haney effectively serve as a technical advisor, weapons expert, and actor’s mentor to Val Kilmer, ensuring that Kilmer reflected an accurate depiction of a special forces operative in every capacity. Haney retired as a highly decorated Sergeant Major, and his documented experience also includes security surveys, metro SWAT team arms training, oil company guard force management, executive protection, and the recovery of American children kidnapped and taken overseas.

The film never comes completely alive for all the thrills stays sedate and calm. While the size of production staying small and intimate brings a certain reality to the conspiracy it also feels like a letdown as the size of the story seems more on The scale of epic Or at least bigger proportions.

This is Mamet keeping his style for a major release that offers him a bigger palate. It actually reminds me of the minimalist style of Steven Soderbergh. I am surprised they never collaborated on a project.

 Grade: B

DIRTY GIRL (2010)

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Written & Directed By: Abe Sylvia
Cinematography By: Steve Gainer
Editor: Jonathan Lucas


Cast: Juno Temple, Jeremy Dozier, Mary Steenburgen, Dwight Yoakam, Jack Kelher, Milla Jovovich, Pat Healy, Brent Briscoe, William H. Macy, Nicholas D’Agosto, Tim McGraw, Elsie Fisher

A comedic story of the search for identity and the redemptive power of unexpected friendship. Danielle is the dirty girl of Norman High School. When Danielle’s misbehavior gets her banished to special ed, she teams up with an innocent closet-case and together they head out on a road trip to discover each other and themselves through a funny and serendipitous friendship.

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ROOM (2015)

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Directed By: Lenny Abrahamson
Written By: Emma Donoghue; Based on her Novel
Cinematography By: Danny Cohen
Editor: Nathan Nugent 


Cast: Brie Larson, Jacob Tremblay, Joan Allen, Tom McCamus, Sean Bridgers, William H. Macy, Wendy Crewson, Rory O’Shea

ROOM tells the extraordinary story of Jack, a spirited 5-year-old who is looked after by his loving and devoted mother. Like any good mother, Ma dedicates herself to keeping Jack happy and safe, nurturing him with warmth and love and doing typical things like playing games and telling stories. Their life, however, is anything but typical–they are trapped–confined to a windowless, 10-by-10-foot space that Ma has euphemistically named Room. Ma has created a whole universe for Jack within Room, and she will stop at nothing to ensure that, even in this treacherous environment, Jack is able to live a complete and fulfilling life. But as Jack’s curiosity about their situation grows, and Ma’s resilience reaches its breaking point, they enact a risky plan to escape, ultimately bringing them face-to-face with what may turn out to be the scariest thing yet: the real world.

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