REVIEW: The Running Man (2025 Film) Starring Glen Powell

Review by Jon Donnis

Edgar Wright's 2025 adaptation of The Running Man brings Stephen King's dystopian vision into a sleek, modern action thriller, but it is a strange mix of spectacle and missed opportunity. Set in a near-future United States ruled by a media network that pacifies the poor with violent game shows, the film follows Ben Richards, played with solid charm by Glen Powell, as he is coerced into the titular competition to save his sick daughter. Powell brings grit and determination to the role, making Ben both sympathetic and compelling as he navigates a deadly landscape populated by professional hunters and a bloodthirsty public. Josh Brolin is suitably menacing as Dan Killian, the charismatic producer who manipulates the game for maximum ratings, while Lee Pace's masked Hunter, Evan McCone, adds a cold, methodical threat that keeps the tension high. Supporting turns from Michael Cera, Emilia Jones, and William H. Macy provide light relief and a touch of humanity amidst the carnage.

The film is undeniably entertaining. Wright delivers some spectacular set pieces, from explosive firefights in Boston to high-speed chases through New York and tense sequences in isolated bunkers. Cinematography and visual effects are impressive, giving the world of The Running Man a polished, futuristic sheen, while the pacing rarely lets up. The narrative manages to balance personal stakes with wider social commentary, highlighting economic disparity and the dangers of media manipulation without feeling too heavy-handed. There is a satisfying arc in Ben's journey, culminating in a final confrontation that provides a clear sense of justice and catharsis.

But there are drawbacks. The film lacks memorable dialogue or quotable lines, and the villains, while competent, feel flat compared to the over-the-top antagonists of the 1987 version. Much of the humour and camp that made the original film so endearing has been removed, leaving a more serious, but also more forgettable, tone. The insertion of modern political commentary sometimes feels forced, undermining the otherwise thrilling spectacle. For fans of the original, these changes make the remake feel unnecessarily safe and polished, stripping away much of the charm that gave the 1987 Running Man its cult status.

The Running Man is a slick, fun film with solid performances and plenty of action, but it suffers from being a remake that removes the soul of its predecessor. It works as a popcorn movie and is enjoyable in its own right, yet it begs the question of why a modern update was necessary when a wholly original dystopian action story could have delivered the same excitement. Despite its flaws, it is still an entertaining watch, earning a fair 7 out of 10.

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The Making of Indy and "Good Boy"

Animals, even domestic ones, are no strangers to horror movies. In fact, from snakes to spiders, bears to prehistoric sea creatures, it could be argued that non-humans get just as much screentime as their human victims. 

Thanks to Stephen King, we have experience with dangerous dogs, too. Cujo, the 1981 book and 1983 film, told the tale of a frenzied Saint Bernard, who'd managed to trap a family in their car. It’s a ‘bottle’ (mostly set in one location) movie that flips the script on Man’s Best Friend. 

Thirty years on, we get Good Boy, a 2025 Ben Leonberg film about a dog named Indy (his real name), facing down the darkness inside his owner’s new home. It won the Howl of Fame Award at SXSW, but, apparently, the Nova Scotia Duck Tolling Retriever didn’t have many lines to learn at all. 

Furry Talent

Good Boy comes at a time when animal-based media seems to be in vogue. Back in 2022, the video game Stray had the player control a cat trying to escape a ruined cybercity. It will be accompanied at some point in the future by a horror game called The Way Home, in which a feline does what cats do best - staring into the void at what lies beyond.

Comparatively, dog games are thin on the ground, but the JackpotCity website carries several canine slots for UK players, including The Dog House Megaways. It sits alongside other four-legged titles like Barnyard Megahays Megaways and Slingo Wolf Snowstorm.

Of course, we can’t forget the loyal Dogmeat character in Fallout 4 and the related TV show (interestingly, the dog who played “Dogmeat” or CX404 in the latter also starred in a 2022 movie simply entitled Dog. Her real name is Lana5, and she’s a model for Anchor Pet Supply).

Good Boy became yet another vehicle for furry talent when it launched in March at the film event SXSW and then found a wide release in October. Protagonist Indy didn’t receive any training at all for his first film role, yet, his performance earned rave reviews from critics.

Playing Fetch

So, how was it made? Leonberg explained that scenes with Indy walking from one point to another were achieved by making a path of treats for the dog, adding that keeping him still for close-ups was one of the harder tasks.

Being a horror movie, Indy had to appear scared in some scenes. Rather than place the pooch in peril, Good Boy’s sound team adjusted and mixed in “vocalisations” from Indy playing fetch with the team. So, no good boys were harmed in the making. 

Indy and Leonberg have done several interviews in support of Good Boy, detailing how the movie was filmed in their own house. This allowed for scenes that wouldn’t be possible in a studio, such as Indy falling asleep or waking up naturally, and his interactions with his owner. 

Good Boy has been well-received, with Empire calling it "brilliantly executed" in its review. There might be a star on the Hollywood Walk of Fame for Indy yet. 

REVIEW: The Long Walk (2025 film) - Starring Cooper Hoffman

Review by Jon Donnis

Francis Lawrence's 2025 adaptation of Stephen King's novel arrives with a brutal, uncompromising premise. The idea is stark and simple. Fifty boys are forced to walk until only one remains, watched by soldiers and a bloodthirsty public. That setup is the film's central currency, and it buys the filmmakers a mood that is bleak and unrelenting.

If there is a single thing the film does well it is acting. Cooper Hoffman as Ray Garraty is the reason to stay in your seat. He gives Ray a mix of stubbornness, fatigue and quiet decency that feels lived in. When the story narrows to small, human exchanges these scenes land, because Hoffman invests them with a weary sincerity. The main cast around him is serviceable, and the occasional flash of camaraderie among the boys is the movie's emotional glue.

But the positives are limited, in number and in reach. The problem is structural. Once you understand the rules of the Walk, there is not much left to discover. The film stretches that single idea to nearly two hours, and the result is a steady feeling of repetition. Deaths happen, grief follows, the boys talk, and the march continues. Over time the rhythm begins to feel like a loop, and the narrative rarely finds new momentum.

Predictability is another weight against it. Key beats arrive exactly as you expect, which robs the shocking moments of power. A bleak tone can be effective, but here it slides into monotony. Good performances cannot change that. The film feels paper thin at points, as if scenes exist to fill runtime rather than to deepen character or theme. If the core idea had been tightened into a shorter format it would have felt sharper and more urgent. As it stands, the film tests patience more than it rewards it. 

There is a certain grim honesty to the movie, and that may appeal to viewers who want their dystopia raw and unadorned. Yet there is a persistent sense of missed opportunity. The material begs for a clearer emotional arc, or for more surprising turns that interrogate the premise instead of merely replaying it. What might work as a compact, forty-minute television piece feels overextended as a full-length feature.

In short, The Long Walk has a standout central performance and it commits to its bleak vision. It also overstays its welcome and offers little in the way of narrative invention. I left the cinema impressed by Cooper Hoffman and frustrated by how little else the film earned. My score is 4 out of 10.

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