Here’s a first look at the final trailer for Ridley Scott’s THE DOG STARS. The film, a riveting, cinematic thriller set in a world where survival is instinct, but humanity is a choice, opens exclusively in theaters, IMAX, and premium large formats August 28.
The film tells the story of Hig (Jacob Elordi), a young pilot who, together with a military survivalist, Bangley (Josh Brolin), has carved out an efficient but isolated homestead in a brutal post-apocalyptic world. But when Hig receives a mysterious radio transmission, he ventures into the unknown in search of the hope and humanity he still believes exist.
Based on Peter Heller’s captivating bestseller, “The Dog Stars” features a critically acclaimed ensemble, including Jacob Elordi, Josh Brolin, Margaret Qualley, Allison Janney, Benedict Wong, and Guy Pearce.
The screenplay is by Mark L. Smith, based upon the novel by Peter Heller, and the producers are Ridley Scott, p.g.a., Michael Pruss, p.g.a., Mark L. Smith, and Cliff Roberts, p.g.a., with Lily Brooks-Dalton, Brandon Scott Smith, Peter Heller, Aidan Elliott serving as executive producers.
Have we learned NOTHING from going deep in the ocean?!
Today, 20th Century Studios and Imagine Entertainment released a thrilling first look at WHALEFALL. The epic and emotional survival thriller about one young man’s encounter with a massive sperm whale opens exclusively in theaters October 16.
Following the death of his father (Josh Brolin), Jay Gardiner (Austin Abrams) goes diving off the central Coast of California in search of his remains, but is swallowed by a massive sperm whale. While trapped inside its belly with only one hour of oxygen left, Jay comes to realize that the hard-earned lessons his father imparted may be the key to his escape.
Abrams recently starred in WEAPONS and the upcoming RESIDENT EVIL.
If you think you were traumatized by this first look, just read at some of the comments from this trailer…
The film, which is directed by Brian Duffield and features a screenplay by Brian Duffield & Daniel Kraus based on the book by Daniel Kraus by the same name, stars Austin Abrams, Josh Brolin, Elisabeth Shue, John Ortiz, Jane Levy, Emily Rudd. The producers are Brian Grazer, Brian Duffield, Jeb Brody, Allan Mandelbaum, with Doug Merrifield, Richard Abate, Will Rowbotham serving as executive producers.
Last night, star Austin Abrams and director/co-writer/producer Brian Duffield were at the Regal Sherman Oaks Galleria for a special 4DX preview of the trailer, offering journalists and guests a one-of-a-kind immersive experience.
Here’s a first look at the new trailer and poster for director Ridley Scott’s THE DOG STARS. The film, a riveting, epic thriller set in a world where survival is instinct, but humanity is a choice, opens exclusively in theaters August 28.
The film tells the story of Hig (Jacob Elordi), a young pilot who, together with a military survivalist, Bangley (Josh Brolin), has carved out an efficient but isolated homestead in a brutal post-apocalyptic world. But when Hig receives a mysterious radio transmission, he ventures into the unknown in search of the hope and humanity he still believes exist.
Based on Peter Heller’s captivating bestseller, THE DOG STARS features Jacob Elordi, Josh Brolin, Margaret Qualley, Allison Janney, Benedict Wong, and Guy Pearce.
The screenplay is by Mark L. Smith, based upon the novel by Peter Heller, and the producers are Ridley Scott, p.g.a., Michael Pruss, p.g.a., Mark L. Smith, and Cliff Roberts, p.g.a., with Lily Brooks-Dalton, Brandon Scott Smith, Peter Heller, Aidan Elliott serving as executive producers.
Enormously entertaining, WAKE UP DEAD MAN offers more than a good murder mystery, delving into the soulful with an ex-boxer priest, playing excellently by Josh O’Connor, seeking his own forgiveness and an unforgiving monsignor, played menacingly by Josh Brolin, with his own little kingdom in a Gothic church isolated in a rural upstate New York that feels straight out of “The Headless Horseman.” Rian Johnson’s third installment in his Knives Out mystery series may be his best yet, featuring his droll Southern detective Beniot Blanc, the two Joshes and a star-studded cast of supporting players including Glen Close, Andrew Scott, and more.
A murder in a church sounds wrong but in Rian Johnson’s capable hands it turns into the perfect place in a story that pits faith and love against power and evil. The Gothic setting lends itself well to the tale of long-buried secrets and hidden motives in this isolated, claustrophobic small community. But director/writer Johnson makes you wait a bit for the crime and the detective, focusing first on Josh O’Connor’s priest as he grapples with his spiritual journey, trying to put love at the forefront, and overcoming the rage that led to him killing a man in the boxing ring.
To help him in wrestling those inner spiritual demons, and to help the church to unravel the curious goings-on at a remote little parish, his bishop (an unexpectedly darkly funny Jeffrey Wright) gives the young priest his first assignment. Not to replace the mysterious long-time priest, a monsignor, at that ancient church but as to be the assistant priest, and perhaps figure out what is happening there.
Josh O’Connor’s priest starts out with a firm belief in the power of love but a more knowing eye for human failings, his own and others. He arrives at the ancient church, which looks more like it was transported whole, complete with churchyard graves, from old England than something in New England. Josh Brolin’s parish priest gives the newcomer a chilly greeting, insisting on being called monsignor, and immediately asking him to hear his confession, a scalding one that leaves the young priest staggering. The battle of the Joshes is on.
Rian Johnson spins out this tale brilliantly, crafting the characters and the mystery to draw you in, and adding plenty of humor and twists along the way. Daniel Craig’s detective arrives a bit late but from that point on, the film takes the brakes off for a wild, massively entertaining ride, while still keeping it’s good versus evil. Figuring out who is good and who is evil is part of the fun.
Reportedly, this is the last of Rian Johnson’s Knives Out mysteries, which is disappointing news if true. This mystery is the best of the series, demonstrating the elastic nature of the genre and showcasing Johnson’s considerable talent.
Of course, that is aided mightily by the wonderful cast, especially first-rate performances from Josh O’Connor, who is really having a year, and Daniel Craig, as the clever, quipping detective. Some of best moments are between these two, as the believer debates the non-believer, in dialog that is both though-provoking and entertaining. Who wants to see that kind of film-making come to an end?
WAKE UP DEAD MAN opens Wednesday, Nov. 26, in theaters.
Glen Powell stars in Paramount Pictures’ “THE RUNNING MAN.”
Seems only a couple of weeks ago we saw a remake of a early 1990s classic thriller, THE HAND THAT ROCKS THE CRADLE. Oh yes, it was just a couple. Well, with only a few weeks left, Hollywood is unleashing another one. Ah, but this is going right to the multiplex, not “straight to streaming” like CRADLE. Oh, and this one’s original “take” (aside from the literary source material) was a few years earlier, 1987 to be precise. Plus, this new flick has a link to last week’s box-office champ. Arnold Schwarzenegger had a busy 1987, going from PREDATOR to this week’s new remake’s “inspiration”. This 2025 “edition” is getting a lot of “heat” since it’s helmed by a cult movie icon and stars an “up-and-coming” screen star. But can he somehow move faster than Arnold as a “2.0” spin on THE RUNNING MAN?
In the not too distant future, the gap between the “haves” and “have-not” seems to have lengthened considerably, especially now that a few corporations have their fingers in everything from the media to law-enforcement. One of the “have-nots” is hard-working stiff and struggling family man Ben Richards (Glen Powell). When we meet him, he’s begging that his former boss rehire him and take him off “the blacklist” for the unforgivable “crime” of meeting with a union rep over safety issues at the factory. But the answer is no, despite Ben bringing along his flu-stricken infant, Cathy. Ben returns to the Co-Op City slums where he shares a tiny broken-down apartment with his wife Shelia (Jayme Lawson) who’s working double shifts at a “gentleman’s club”. The frustrated papa clicks on the tube to catch some “Freevee”. Watching promos for the network’s slate of game shows, Ben believes that the only way to earn some quick medical funds for his daughter is to audition on a show. Promising Shelia that he won’t try out for the most dangerous of these programs, “The Running Man”, Ben heads downtown to the network studios, The staff there notices his fiery temper and sends him right up to the swank office of their big boss, Dan Killian (Josh Brolin) who wants him for that most violent show. Dangling a possible billion dollar prize jackpot, Ben reluctantly agrees. He’ll be one of the new trio of contestants on “The Running Man”. But with a heavily armed squad of “hunters” on his trail, along with a citizenry eager for a bit of the “bounty”, can Ben stay alive for thirty days (no one has yet) and return to his loving family?
So, this truly makes it official. Powell is the “real deal” as a movie star, going from the frothy rom-com ANYONE BUT YOU to action lead here, with a slight detour in between into front the disaster-thriller TWISTERS. He brings us into Ben’s heart, willing to do anything to save his struggling family. But there’s no halo over his head, as Powell conveys that bubbling angry frustration that suddenly boils over. There’s also a touch of a charming rascal during the quieter comic interludes, before Powell displays his physical prowess in the many action set pieces. He’s also a great “team player” as Powell shares the screen with an impressive supporting ensemble. Brolin’s a focused business baddie who keeps his evil impulses cloaked, using his “goon army” led by a surly Lee Pace at the ready. Colman Domingo appears to be having a blast as the cynical, flamboyant game show MC “Bobby T”, doing a flashy “peacock strut”. As for the folks in “Ben’s corner”, William H. Macy is the surly, but soft-hearted tech wiz who is something of a father figure to him in a pivotal early scene. Much later, we meet the very intense Michael Cera as an “underground rebel” who balances “old school” methods (dropping pamphlets) with some creative weaponry (a “super-squirter”…really). And in the finale, a somewhat indifferent “have” played by Emilia Jones (CODA) has her mind and heart opened up by Ben. Also of mention are the excellence comic performances of Katy O’Brian and Martin Herlihy (SNL’s “Do Not Destroy”) as Jenni and Tim, Ben’s “less lucky” game show competitors.
That cult icon filmmaker at the helm is Edgar Wright (BABY DRIVER), who co-wrote this adaptation of the Stephen King (as his alias Richard Bachman) novel with Michael Bacall. Wright seems to be having fun as he plays in this big, flashy, sometimes grimy futuristic toy box. It’s a slightly satirical take on current pop culture extremes, though it may be relevant today after the 21st century rise of the reality completion shows, from “Survivor” to “Squid Game”. And without directly calling out the tech terror, Wright also shows the dangers of “AI” as footage of Ben’s battles and video screeds (he has to record himself every day and drop it in a “drone/mailbox”) is manipulated to serve the game’s “narrative”. Yes, some of the parody is almost “shooting fish in a barrel”, especially with the cutaways to a Kardashian-like program, but Wright builds on the media-skewing that ROBOCOP also did so well in 1987 (what was in the “water” that year). Many of the action sequences are inspired, as Ben rigs up found objects in an almost Rube Goldberg fashion to harm the “hunters”. But unfortunately it gets a tad tiresome as the story limps along to a finale that’s way too convoluted with (another action flick problem) far too many endings. Those fans of the original should get a kick out of this spiffy more modern take (though it’s hard to match iconic game-show host Richard Dawson back in the day), but the casual film fans may just feel worn out as hints of “test market tinkering” try to hinder the brisk marathon-pace of THE RUNNING MAN.
2.5 Out of 4
THE RUNNING MAN is now playing in theatres everywhere
GET READY TO EXPERIENCE EDGAR WRIGHT’S THE RUNNING MAN ON THE BIG SCREEN!
In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.
Based on the Novel by Stephen King.
Directed by Edgar Wright and starring Glen Powell, William H. Macy, Lee Pace, Michael Cera, Emilia Jones, Daniel Ezra, Jayme Lawson, Sean Hayes, Katy O’Brian with Colman Domingo and Josh Brolin, THE RUNNING MAN IS IN THEATRES, DOLBY CINEMA, 4DX, PREMIUM LARGE FORMAT AND IMAX ON NOVEMBER 14, 2025.
The St. Louis screening is at 7PM on Monday, November 10th at the Alamo Drafthouse City Foundry.
Paramount Pictures has released a thrilling new trailer for director Edgar Wright’s THE RUNNING MAN.
Streamed live from New York Comic Con, the NYCC panel for The Running Man featured Glen Powell, Lee Pace, and Edgar Wright in a conversation about the making of the film, along with an early look at this fall’s adrenaline-fueled action thriller, arriving only in theaters this November 14.
In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.
Based on the novel by Stephen King, the score is from Oscar-winning composer Steven Price (GRAVITY, BABY DRIVER, THE WORLD’S END and the upcoming COYOTE VS ACME).
Wright shared this photo of himself and long time collaborator Price on Instagram.
NEW YORK, NEW YORK – OCTOBER 10: (L-R) Edgar Wright, Glen Powell and Lee Pace attend “The Running Man” New York Comic Con Presentation at the Javits Center on October 10, 2025, in New York, New York. (Photo by John Nacion/Getty Images for Paramount Pictures)
As we get past the majority of Summer (Two months down, one to go before Labor Day), perhaps we can cool down a bit from the still sweltering temps by taking a trip into some Halloween-like fare at the multiplex. Why not, since this big cinema season kicked off with the jazz-loving bloodsuckers of SINNERS, and the trick ‘r’ treat supplies are starting to take over lots of retail shelf space (really, Walgreens). And speaking of those lil’ “candy-demanders”, this new flick utilizes them for the frights. Yeah, the movies have been showcasing scary kids for many decades. Wow, those blank-eyed British tots for VILLAGE OF THE DAMNED were in my “nightmare rotation” long before Regan MacNeil spewed pea soup in THE EXORCIST. Now an acclaimed horror director has mixed terror tykes with some small-town scandal and a big-time mystery in (the title is another puzzler) WEAPONS.
A soft-voiced pre-teen narrator introduces us to the town of Maybrrok, USA. Everything’s “off” at the elementary school (grades kindergarten through fifth) since seventeen of the students in Justine Gandy’s (Julia Garner) class ran from their homes at 2:17 am and seemingly vanished into the night. No clues, no leads other than some front door security camera footage (eerily silent) of several fleeing in a weird way (arms sort of dangling dead at their sides). But Ms. Gandy still has one student left, the somber, stoic Alex Lilly (Cary Christopher). The police grill both of them, but they don’t provide any answers. The town’s parents aren’t satisfied with that and start hounding and harassing her, the loudest being home contractor Archer Graff (Josh Brolin). Flustered principal Andrew Marcus (Benedict Wong) tries to diffuse the tension, while Justine turns to booze, reality TV, and an old beau, now-married policeman Paul Morgan (Alden Ehrenreich). But he has to deal with a drug-addled, thieving drifter named Anthony (Austin Abrams), who might know something about those missing kids. Ditto for the eccentric elderly aunt of Alex, the brightly garbed and heavily “made-up” (think Bozo in a tracksuit) Gladys (Amy Madigan). Can any of these victims and suspects lead to the location of those dearly missed children? And what sinister forces compelled them to disappear?
Adding her considerable acting chops to another spooky scenario, Ms. Garner (fresh off the surfboard in the F4 flick) brings a compelling vulnerability to the shunned Ms. Gandy. But we see that she’s no quivering victim. Garner also gives her a tough outer shell as she ventures out of her comfort zone, rather than cocooning in her home or “hoteling” miles away, she stands her ground against her accusers. Yeah, she can “blow off some steam” as she ignites a “former flame”. Now, not all the parents of “the missing” are shrill harpies. Brolin projects another kind of strength that somehow remains despite her crushing grief, spending nearly sleepless nights in his boy’s bedroom. We also see the anguish taking a toll on his work. Then Brolin shifts into the proactive mode, as Archer uses his work skills to follow a chancy lead. As that “flame” Paul, Ehrenreich conveys a man on the “edge”, desperate to stay on the right path, but frustrated by not only the “kid case”, but having to deal with a now listless marriage, then trudge to deal with his father-in-law (the Chief of Police) at work. He aims some of that anger at Abrams, who brings a nice twitchy energy to the “small potatoes” criminal nuisance. Kudos to the strong performance by the gifted young Christopher, who makes Alex a sad enigma, briskly trudging to and from the school where he somehow escaped that chaotic night. Also quite good is Wong as the school’s overseer, pushing back against the panic while trying to hold in his own worries and concerns. The bravest, nuanced work may be from screen vet Madigan, who makes the clown-like Gladys a lot more than a senior citizen caricature, projecting a quiet, menacing mania in every encounter.
Following up his surprise horror hit from 2022, BARBARIAN, writer/director Zach Cregger, has cooked up a delicious premise, building on the remarkable visuals of the kids almost gliding from their cozy suburban homes into a dark oblivion. He keeps us on our toes with his non-linear storytelling style, relaying info in chapters named after the characters, shifting the timeline, and often repeating scenes from different angles and viewpoints. And as with most thrillers, he piles on the shocks with lots of nightmares, with “was that actually real” payoffs. Yes, the “jump scares” work without much of the usual reliance on sound mixing (though it’s good along with the cinematography that works well in both night and day). It’s such an inspired “how” and “whodunit”, full of tension and suspense, that the final act resolution doesn’t have the strength of the “setup” and the small town “sinning”. Without giving anything away, I keep wondering if the final moments were going for horror or for humor (it can be a thin line between the two), making me question the filmmaker’s true intentions. Sure, there’s nervous laughter early on, but the titters in the finale could have leaked over from the theater next door running THE NAKED GUN. Still, the big ending veers away from the now-standard “wrap-ups” in genre flicks, so that’s to be applauded along with the cast and the overall feeling of dread and gloom hanging over these cursed villagers. For fans of these flicks, it quickens the pulse, but a convoluted third act somewhat muffles the considerable “firepower” of WEAPONS.
WaterTower Music has announced the release of the Weapons (Original Motion Picture Soundtrack), featuring an original score by Ryan Holladay, Hays Holladay, and filmmaker Zach Cregger.
The highly anticipated horror/thriller from New Line Cinema, Weapons will be distributed by Warner Bros. Pictures and hits theaters and IMAX nationwide on August 8, 2025, with international release beginning August 6.
The soundtrack is available digitally now. Vinyl & CD will be available for Pre-Order starting 8/8 through Waxwork Records. The LP features deluxe packaging that includes colored vinyl, heavyweight gatefold jackets, custom artwork, and a premium 3D lenticular cover.
Unusually for a modern production, composing for Weapons began as soon as editing commenced. The Holladay brothers relocated to New York and set up their scoring suite just steps away from the editorial and VFX teams—allowing for a uniquely fluid, collaborative process. Music was integrated directly into the evolving picture, resulting in a score that was organically built alongside the film itself, with minimal reliance on temp tracks.
“Having known Zach since childhood and played together in a band (Sirhan Sirhan), we had a musical shorthand that helped us to work quickly,” explains Hays Holladay.
“Zach really wanted us to be there throughout the post-production process, so we flew to New York soon after filming wrapped and were part of the edit for the next five months. And because we started so early, the three of us were constructing the score as the edit was still coming together. So, Zach would jump between our room, the VFX room and the edit. As a result, there was hardly any temp score throughout the process, so even in the very first test screenings, it was all original music we were making.”
“We went to New York with three suitcases full of synths, sound sculptures and samplers and built everything just a few steps down the hall from where they were creating the visual effects and editing the picture. The process felt like the opposite of working remotely – we were having lunch with the whole post-production crew every day.”
When it came to crafting the score and building the tension, mystery and musical disorientation, Ryan Holladay had this to say:
“We wanted to create a score that felt intense and energetic when it needed to be, but also captured the mystery and the longing for answers that runs throughout the story without overstaying its welcome. In some cases, it took a few tries to get the tone right. One instance that comes to mind is ‘The Flight,’ which happens in the big running scene where you finally see where all the kids are headed. We tried a few attempts, going dramatic and sweeping at first. But in the end, what connected was something that feels, to me, like ‘Ride of the Valkyries’ meets Basinski’s ‘Disintegration Loops.’ It’s very unsettling.”
Weapons (Original Motion Picture Soundtrack) Tracklisting: 1. Maddie 2. Main Theme (from Weapons) 3. Who’s There? 4. Following 5. Newspaper 6. Don’t You Find It Odd? 7. What Could’ve Happened 8. Nightmares 9. Snip 10. Daybreak 11. Troubled Person 12. Where Are You? 13. Map 14. Waiting Game 15. Gasoline 16. Stop Right There 17. Serious Hot Water 18. Donna 19. James 20. Room to Room 21. What Did I Tell You? 22. On a Mission 23. Drag 24. I Think She Cut My Hair 25. Gasoline II 26. Homesickness 27. Are You Watching? 28. Campbell’s 29. If I Got Better 30. Nametag 31. The Flight 32. Into the Lair 33. One Shot 34. Locked 35. Swarm (feat. Mary Lattimore) 36. I Found You
From New Line Cinema and Zach Cregger, the wholly original mind behind Barbarian, comes a new horror/thriller: Weapons.
When all but one child from the same class mysteriously vanish on the same night at 2:17 a.m., a community is left questioning who or what is behind their disappearance.
The film stars Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, with Benedict Wong, and Amy Madigan.
Cregger directs from his own screenplay, and also produces alongside Roy Lee, Miri Yoon, J.D. Lifshitz and Raphael Margules, with Michelle Morrissey and Josh Brolin executive producing. The filmmaker’s creative team behind the camera includes director of photography Larkin Seiple, production designer Tom Hammock, editor Joe Murphy and costume designer Trish Summerville. The music is by Ryan Holladay, Hays Holladay and Zach Cregger.
New Line Cinema Presents A Subconscious/Vertigo Entertainment/BoulderLight Pictures Production, A Zach Cregger Film, Weapons. It will be distributed by Warner Bros. Pictures and released in theaters and IMAX nationwide on August 8, 2025, and internationally beginning August 6, 2025.
Paramount Pictures has dropped the first trailer for director Edgar Wright’s THE RUNNING MAN.
In a near-future society, The Running Man is the top-rated show on television – a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite – and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.
The cast includes Glen Powell, William H. Macy, Lee Pace, Emilia Jones, Michael Cera, Daniel Ezra, Jayme Lawson with Colman Domingo and Josh Brolin.
“Welcome To The Running Man!!” This looks so GOOD!! People want fun movies and this definitely looks FUN.
THE RUNNING MAN is based on the Novel by Stephen King.
The original 1987 movie is celebrated for its cheesy 80s action, memorable characters, and surprisingly relevant themes, making it a cult classic that continues to be discussed and analyzed. This version starred Ben Richards (Arnold Schwarzenegger) as a helicopter pilot framed as the “Butcher of Bakersfield” after refusing to fire on unarmed civilians during a food riot. He becomes the reluctant star of “The Running Man.” His signature one-liners and physical prowess are on full display; Damon Killian (Richard Dawson) as the ruthless and charismatic host of “The Running Man,” expertly played by Dawson (known for “Family Feud”). Killian embodies the manipulative and power-hungry nature of the media in this dystopian society. He’s a highlight, often stealing scenes with his smarmy charm and Amber Mendez (Maria Conchita Alonso) as an ICS (the state broadcaster) employee who initially believes Richards is guilty but eventually uncovers the truth and joins his fight.
But the best thing about the film were the villains. The Stalkers were colorful array of themed assassins providing memorable and often over-the-top challenges for Richards, including:
Subzero (Professor Toru Tanaka): A hockey-themed killer.
Buzzsaw (Gus Rethwisch): A chainsaw-wielding biker.
Dynamo (Erland van Lidth): An opera-singing, electrically charged stalker.
Fireball (Jim Brown): A flamethrower-wielding stalker.
Captain Freedom (Jesse Ventura): A former stalker who refuses to fight Richards dishonorably.
Some of the more memorable scenes were the Introduction to “The Running Man” show: The bombastic and spectacle-driven opening of the game show, with dancers, a cheering crowd, and Killian’s grand pronouncements, sets the tone for the brutal entertainment; Richards vs. the Stalkers:The various confrontations with the unique stalkers, often ending with Schwarzenegger delivering a classic one-liner after dispatching them. Highlights include the fight with Buzzsaw where Richards famously says, “He had to split.”; The “winners” reveal: The shocking discovery by Amber that the supposed past “winners” of The Running Man were actually murdered, exposing the show’s complete deception and The Resistance: Richards’ eventual alliance with the underground resistance movement, led by Mic (Mick Fleetwood), who work to expose the government’s lies. And finally The climactic confrontation andRichards’ final showdown with Killian, which sees Killian forced into a rocket sled and launched into the game zone, meeting a fiery end.
