In the decades since the 1987 release of the Arnold Schwarzenegger action vehicle The Running Man, so much has changed that this new version should be considered as its own entity. Reality TV has now achieved a crazy level of extreme action as well as hand-to-hand combat sports with its televised brutality. In the context of all these changes, how does one look at this 2025 release? 

First, it must be said that this take is crackling with the kind of irreverent energy that is director/writer Edgar Wright‘s stock in trade, and this is more a reimagining than a reboot. Lead actor Glen Powell is given the chance to outdo Arnie in almost every way. He delivers a physical performance that veers closely to complete anarchy, and he does so with a sly nod at its core.

The world that Wright and cinematographer Chung-hoon Chung have created, one filtered through the loosely adhered to guidelines set out by Stephen King’s novel, mirrors our current society’s tendency towards sensory overload perfectly. It’s a manic level of energy that never subsides. And as ridiculous and over the top as the presentation of the television show that underlines the story and its audience members is, there are parallels with much of current reality TV programming.

Sustaining this level of insanity asks as much from the audience as it does from the cast. This is a difficult film to be neutral about. The question of where this trend towards increased televised absurdity goes next is ever-present. Your ability to process that kind of visual and audio overload will inform your enjoyment of the proceedings. This reviewer enjoyed the heightened level of madness.
Rob Hudson
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The story while set in the present uses a clever plot device to go back in time to London (specifically Soho) in the swinging sixties. The dress code of the period is also brought to full colour as are the rocking hairstyles. The overall effect is quite intoxicating and it highlights how bland and limiting the current sense of fashion can be.

Eloise “Ellie” Turner (Thomasin McKenzie) is a countryside girl who follows her muse for fashion by moving to the West End of London after being accepted into the London College of Fashion. After clashing with her college roommate Jocasta (Synnove Karlsen) she secures an upstairs room at a house run by Ms. Collins (Diana Rigg). This is the point where her troubles begin.

As Ellie’s life spins out of control, the film switches into horror mode and packs several powerful surprises into its narrative. Wright’s sure hand at the tiller elevates what could have easily become just another genre picture into something much more entertaining. This film also sadly marks the last on-screen performance of Diana Rigg and Margaret Ann Nolan. The film is dedicated to those two fine actors.

Rob Hudson
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Along the way, they have helped to invent numerous musical styles that other bands have used to find great financial success while the Mael brothers, Ron and Russell have experienced no real sustained financial or popularity benefit. Their change styles at will approach have made them outsiders but influential to other members of the musical community with both the press and their peers taking a closer look.

With their sustained creative efforts over the years (25 albums and counting) and a visual sense that often bordered on the absurd, they are still best known for brother Ron’s Hitler moustache and expressionless stage presence. This film goes a long way to proving that there is real flesh under those skinny skin and bones.

If nothing else The Sparks Brothers prove that few directors have a better feel with music in film than Edgar Wright. His previous work with Baby Driver and Scott Pilgrim vs. the World help to support this hypothesis. It’s wonderful that he got to sprinkle some of his magic dust on a musical act so deserving of his and our attention.
Rob Hudson

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Take a musical odyssey through five weird and wonderful decades with brothers Russell & Ron Mael, celebrating the inspiring legacy of Sparks: your favorite band’s favorite band.

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Wright pulls remarkable performances from his entire cast. Ansel Elgort (The Fault in Our Stars and Divergent) shows a real star turn as the enigmatic title character and both Jon Hamm and Jamie Foxx really sell the menace as they both play great criminal psychos. Headmaster Kevin Spacey keeps them all together with a solid mix of benevolence and belligerence.

Special mention should also be made about the car chase scenes. Without any noticeable computer generated imagery, this overused and tired cinematic device is presented as fresh and unique as it’s been in many years. This is down to the driver’s raw abilities and some amazingly staged choreography of the cars and their surrounds.

It’s fast paced but still slows down long enough for some effective character development. Few films this year will fire on all cylinders with as much assurance and energy as Baby Driver. Don’t miss it.

Rob Hudson
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