Tag: social satire

THE RUNNING MAN (2025) – Review

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

EDDINGTON – Review

With last weekend’s “super” domination at the multiplex by one big blockbuster, some filmgoers may be looking for a break from the usual escapist Summer cinematic offerings. Well, that “indie upstart” A24 is always ready to provide a diversion that’s truly “off the beaten path”. And the setting for this flick is “way off” that trail, as an acclaimed, somewhat eccentric filmmaker guides us into a dusty desert town that’s fraught with old feuds and frustrations. Plus, the early 2020 “climate” not only brings everyone there to a “boiling point”, but it may provide the ‘spark” that could ignite the “tinderbox town” of EDDINGTON.


The village that has “seen better days” is in a remote part of New Mexico. The timeline of the tale is May 2020. In the opening scene, the town’s longtime sheriff Joe Cross (Joaquin Phoenix) gets into a “dust-up” with two patrolmen from a nearby jurisdiction over his refusal to don a face mask. Yes, we’re in the midst of the COVID pandemic. Joe is called back to Eddington to deal with an angry unmasked derelict who tries to enter the pub owned and managed by the incumbent mayor, Ted Garcia (Pedro Pascal). After the situation is “handled,” the two men exchange words. Joe has a “beef” with Ted since he was a former “flame” of Joe’s emotionally fragile wife, Louise (Emma Stone). Due to the lockdown, her abrasive mother, Dawn (Deidre O’Connell) lives with them. The ladies spend their days clicking on conspiracy websites while Louise crafts her strange dolls. The next day, Joe and Ted “get into it “again at the local grocery store (yes, over masks). Joe makes an impulsive decision. He posts a cell phone video announcing that he’ll challenge Ted in the upcoming election. He enlists the help of his deputies, the dim “hothead” Guy (Luke Grimes) and the more laid-back, ambitious Michael (Micheal Ward). But a news event soon takes time away from the campaign. A small group of young people block off the dusty main street to protest the killing of George Floyd. Will these conflicts derail the plans for a huge data processing plant that will be built just a few miles away (which could energize the flagging economy)? And how will several “shadowy forces” influence the election and make the debates take a deadly turn?

For once, the marketing clues us into who is the real lead character of this film is. Despite the “star-studded” cast, the real focus is Phoenix as the surly, obstinate sheriff turned politico. He snarls and grumbles through most of his scenes, though Phoenix plays him as an angry teen with almost no impulse control. He doesn’t really know what kind of trouble he’s put himself in as Phoenix furrows his brow as Joe flails like a non-swimmer suddenly in the “deep end”. Still, he has great tenderness with his “Rabbit” AKA wife Louise, played with a jittery twitch by the compelling Stone. Louise appears to be in a fog that seems to dissolve as she plunges into the world of internet mysteries. It’s not until the campaign heats up that we see her speak out against becoming a pawn in the big battle to run the town. This all stems from her past history with Garcia, who is given a real “average Joe” likability by the engaging Pascal. He “plays for the people,” although he isn’t afraid to confront Joe by “getting in his face”. Pascal is also quite effective in the father/son dynamic with the snarky Matt Gomez Hidaka as his only child, Eric. O’Connell is quite a ‘force of nature’ as the domineering Mama Dawn, doing a more focused and less ruthless riff on her excellent work as the Penguin’s matriarch on the streaming smash. Grimes is a flighty lunkhead as Guy, while Ward simmers as the conflicted deputy Mike, who is often the only voice of sanity in the chaotic station house. Though he’s prominent in the poster, Austin Butler only has an extended cameo role (just a scene or two) as cult leader/ motivational speaker VJ Peak, whose “rap” bewilders Joe. Also of note are the main protest “rep” Sarah played by Amelie Hoeferle and Cameron Mann as the off-kilter Brian, who appears to have a sinister agenda that he’s slowly putting into motion.

Now the filmmakerr I mentioned in the opening is the quirky (to say the least) writer/director Ari Aster, who veers away from his comfort zone of disturbing horror cult faves like HERDITARY, MIDSOMMAR, and BEAU IS AFRAID to try his hand at an (somewhat) modern Western (Joe’s almost always in his white stetson). I would counter that label by floating that he’s crafted a dark, almost pitch black, social satire. But I’m reminded of a phrase from the world of stand-up comedy, when a joke about a tragedy falls flat: “Too soon?”. I’m not sure if five years is enough distance from the pandemic and the Floyd BLM protests, along with raving internet paranoia, and a “sidebar” about the taking of the land of indigenous peoples. Rather than evoking laughter, it brings up the memories of such a divisive time, becoming truly “squirmy” “cringe” humor. Perhaps if it were only about a small-town election, the satirical scalpel would be sharper to make a cleaner cut. Instead, Aster has an overstuffed “bag of topics” that help account for his 144-minute runtime. Part of the pacing problem may be the extended finale of mayhem that mixes elements of the Roadrunner cartoons and Russ Myers’ bloody excess, with a touch of Coen Brothers chaos of RAISING ARIZONA. It’s all too obvious and exhausting, although several current political jabs do hit the mark. But it’s drowned out by the explosions and caricatured carnage. All these desperate themes make a trek to EDDINGTON a most overwhelming and tiresome getaway. And strictly for fans of the star and director…

2 Out of 4

EDDINGTON is now playing in select theatres

DEATH OF A UNICORN – Review

First off, here’s a big warning (or heads-up, if you prefer) to parents looking for family-friendly fantasy flicks: this “ain’t one of those. Yes, I know that “word” in the main title caught your eye, but don’t be misled. The title’s first word should provide a hint, along with the studio producing and releasing it, the “off kilter” current “indie” studio “darling”, A24. No, it’s a satire of current events that involves the mythical title creation, a critter that’s a staple on kids’ clothing and decor (wallpaper, bedding, etc.). And, as with many monster movies, modern-day (wow, 21st century) tech can’t really dominate the magical legends from humanity’s earliest (thousands of years) days. Films have explored this idea in “fairy tale fable fear-flicks” about mermaids and genies (or the djinn). With this week’s release, we find out what kind of carnage ensues after the DEATH OF A UNICORN.

The story begins on a US commercial airliner that’s just landed in the future 51st state, Canada (lil’ joke). On board is a twitchy, nervous middle-aged lawyer and widowed dad Elliot Kintner (Paul Rudd) who’s traveling with his college-age daughter Ridley (Jenna Ortega). Naturally, the plane arrived late, and now there are more complications, something about the exit door ramp, which will delay his arrival for the big meeting that afternoon. They finally get to the airport’s rental car desk and get their deluxe SUV for the drive through the mountains to the private estate of his employers, the Leopolds, scions of a pharmaceutical empire. The drive puts more of a strain of the father-daughter dynamic, especially when the speeding and allergy-plagued Elliot hits some animal on the trail. After parking on the side of the road, the duo is stunned that it’s not a deer or moose, but what appears to be a… unicorn. When Ridley grasps the horn, her mind begins a psychedelic trip full of colorful images and…she’s pulled out of it by a splash of purple blood across her face as her dad tries to “end its suffering” with a tire iron. Out of panic, he puts its body into the rear of the vehicle and proceeds to the mansion. Upon arrival, he meets the Leopold heir, the twenty-something “bro” Shephard (Will Poulter), then his mother Belinda (Tea Leoni), and finally the aging patriarch Odell (Richard E. Grant). After being shown their guest rooms, Ridley stays behind as Elliot makes his presentation to the family of a revised company divisional contract needed since Odell’s health is rapidly failing due to several aggressive cancerous tumors. In her room, Ridley is stunned to see that her skin is now smooth, and the acne is gone. She dashes downstairs to tell Dad, who isn’t sniffling anymore (and he doesn’t need his glasses). Could this stem from the splashes of unicorn blood? And then a noise from the outside startles the group. That unicorn is somehow alive and trying to break out of the vehicle. After the house staff subdues it, the Leopolds call in their security and research scientists, who set up a temporary lab. After a unicorn blood injection, Odell appears to be cured and full of vitality. It’s a new health “goldmine” for the Leopold company. But something’s off, as they hear strange guttural howls emanating from the now glowing woods. Ridley does some internet sleuthing and learns the real legacy of unicorns, which are immortal, nearly indestructible, savage killing machines. And it seems that there are more are their way to retrieve their fallen family member. Despite their wealth and power, can the Leopolds, along with the Kinters, survive the attack of these very real and deadly monsters of myth?

This odd mixing of style and genres has, not surprisingly, attracted quite an eclectic cast. Rudd somewhat pushes back on his ultra cool and charming screen persona making Elliot a jittery “basket case’, espcially in the frenetic opening moments. Yet Rudd balances that awkward “pencil-pusher” with an endearing yearning to reconnect with his daughter and be that perfect “girl dad”. As his “drifting-away princess” Ortega uses a bit of her aloof attitude from “Wednesday”, which adds to the dramatic impact as the “unicorn encounter” energizes her and provides a purpose. It’s then that Ortega’s Ridley becomes the story’s passionate voice of reason and empathy as she sounds an “alarm” that most choose to ignore. Grant brings a sneering gravitas to the callous, calculating “robber baron”, disdainful of nearly everyone, particularly his “fam”, as his new lease on life fuels his greed to acquire “more”. In her first big-screen role in a dozen or so years, Leoni combines snark and a sexy, mature swagger as the “trophy wife” whose brain is mostly a cold “calculator “spitting out a “program” to manipulate and dominate. Once again, Poulter gives a splendid comic performance as a spoiled, dim-witted, motor-mouthed “frat boy” as the “hyper-hustling heel” Shepard. Also adding great comic energy is Anthony Carrigan, best known for HBO’s “Barry” and soon to be the “element-hero” Metamorpho in SUPERMAN, as the Leopold’s fast-thinking, ultra-efficient and abused mansion manservant Griff. His wide-eyed manic “takes” are a terrific commentary on the “fiflthy rich”, making him a superb audience surrogate.

Hard to believe this is the first feature film directed by screenwriter (he did the script, too)/ producer Alex Scharfman, as it has the feel of a film by a seasoned genre veteran. But then, he confidently blends the horror themes with a sharp biting social satire (hmm, I wonder where he got the idea for such a corrupt “pill-producing” family empire, eh). And there are the two, almost polar-opposite family dynamics, with the warmth of the Kinter’s almost destroyed by the avaricious Leopolds. Scharfman also shows a skill for broad slapstick comedy with several terrific visual gags (often with the great Griff) and rapid, bombastic verbal “burns”. Speaking of visuals, much like last year’s THE SUBSTANCE, Scharfman showcases some great “practical effects” along with bits of CGI to bring the title critters to rampaging life, making a film almost an homage to the monster movie mania of the 1980s (complete with Ridley’s “green screen” “head-trip”). Unfortunately he gets a bit too self-indulgent letting the scares and stalkings continue for too many “jump scares’ and multiple endings complete with the old “they’re dead…or not” cliche “twists”. It doesn’t negate the superb comic performances of the actors, or the joy of exposing and eviscerating the “one-percent”, but a tighter edit may have given the flick a greater imapct. This would’ve injected much more laughs and life into the comic chaos ignited by the DEATH OF A UNICORN.

2.5 Out of 4

DEATH OF A UNICORN is now playing exclusively in select theatres