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The Running Man is Strongest When it Focuses on its Race Against the Clock but Fumbles in the Third Act

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The Running Man

A film starring America’s newest goofy, yet sexy leading man, directed by one of the UK’s most energetic and stylish directors of the 21st century, and featuring anti-fascist and surveillance state themes should be an no-brainer good time at the movies. Well, in the words (and voice) of many a game show host, “Wrong!” Before it all falls apart in a third act that badly needs a rewrite ,The Running Man, which is an adaptation of the 1982 Stephen King novel and not a remake of the 1987 Paul Michael Glaser/Arnold Schwarzenegger, kicks off with plenty of rage, heart, and over-the-top satire. Ben Richards (Glen Powell) is press ganged into joining The Running Man, a deathly game show so he can get flu medicine for his daughter because he is blacklisted from employment for talking about unionization. Producer Dan Killian (Josh Brolin) and host Bobby T (A very fun Colman Domingo) initially set up Ben as a heel, but he ends up becoming a kind of folk hero while he runs, evades, shoots, and initially catches a cab up the Eastern seaboard.

The Running Man starts out as a stylish and zippy film in Edgar Wright’s signature style (There’s a futuristic Primal Scream cover/remix during the tryout scene.) with a melancholic undercurrent. Ben’s wife (A compelling, yet underutilized Jayme Lawson) are truly the center of his world, and any threats against them lead to homicidal rage, which is why he’s still unemployed and cleans Killian’s clock before The Running Man even starts. The tight rope between sad and silly is a hard one to walk, especially as the film progresses, and we get into the world of Running Man truthers and Derry, Maine zine-makers. But until a fair pivotal plot moment towards the back third of the film, Wright and co-writer Michael Bacall nail the heightened violence, comedy, and emotional elements of the film using the road movie formula for interesting set pieces and perspectives on this world, which is sadly similar to ours. (I am never getting a self-driving car.)

However, as The Running Man progresses, some of its wit and charm start to run out, and it turns into a generic action thriller. This extends to the directing, editing, and cinematography, and at times, it doesn’t feel like an Edgar Wright film, but like something Hot Fuzz would poke fun at with its rapid cuts during action sequences and brutality with pizzazz. But The Running Man isn’t all fast and no furious, and there are some moments like a couple car chases and a set piece featuring the long awaited reunion of Wright and Michael Cera that remind you that it is about something and looks good while unpacking its themes. It’s a shame that the final one is so forgettable even with the help of classic Edgar Wright gag that lands verbally, but not visually.

Also, as it devolves into action and soap opera cliches, The Running Man loses its satirical bite even as Powell starts to resemble the merciless killer of the doctored television clips instead of the pissed off family man that he actually is. There are tough conversations about class, privilege, and the manipulative nature of the media between flights of bullets, but they don’t reach a strong conclusion as Edgar Wright, Bacall, and probably super-producer Edgar Wright battle with whether to have a happy, powerful, or something in-between ending. The Running Man is at its strongest when it’s a race against the clock road trip where you can’t trust anyone, and some of the conversations that Ben has with the folks that he meets on the run remind of less heightened ones with folks I don’t know as I try to figure out if they’re not into genocides and stripping away folks’ basic human rights. It definitely succeeds at having some explosive scenes at the micro-level, but The Running Man gets muddled when it tries to be about anything other than one man fighting a losing battle against a soulless enemy to save his family.

Although Glen Powell oozes with charisma, relatable anger at the state of the world, and delivers Michael Bacall and Wright’s dark one-liners with aplomb, The Running Man feels like a psy-op made by Paramount to show their investors that films with leftist and ACAB themes bomb at the box office so they can make more conservative rancher, Temu Sopranos in Oklahoma, and whatever the heck Landman is. It has a strong populist streak, and the road story is a nice spine until the third act when it goes off the rail, and sadly Edgar Wright can’t literally land the plane. I will say that this is the closest we’ll get to a big budget Judge Dredd film, and at times, it’s like that title’s “America” arc, but confined to the Northeast.

Overall Verdict: 5.0/10

Paramount Pictures provided Graphic Policy with a FREE screening for review

Movie Review: Deadpool 2

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deadpool 2 imax poster

Deadpool 2 is a triumph of the genre of R-rated action comedy whose only peers are its predecessor and a few Shane Black movies. The major problem with this is the very obvious comparison to the first, which it doesn’t quite live up to, despite patented “Maximum Effort.”

The first was such a breath of fresh air and countered so many expectations. This is another bloated summer blockbuster sandwiched between Infinity War and Solo, and maybe we’re having a bit of remorse at eating at the all-you-can-geek-buffet of the Summer of 2018. But that doesn’t mean it’s bad. In fact, after Infinity War’s dour ending, Deadpool 2 is the palate cleanser many of us need.

Enter our anti-hero, Wade Wilson, aka Deadpool (Ryan Reynolds), who has become a worldwide assassin. But when he reaps the whirlwind from a hit gone wrong, he takes up with his frenemies the X-Men as a trainee. They begin tracking a troubled teenage mutant, who is also being hunted by time travelling mutant Cable (Josh Brolin). To keep up, Deadpool founds his own team called X-Force, and. . . wackiness ensues.

Anyone who owns a trade of Deadpool and Cable knows where this movie is heading, so there shouldn’t be too many shocking plot twists. However, the movie sure takes its time getting there. It starts with an absolutely gonzo bonkers opening, culminating with a James-Bond-style opening credits scene while Celine Dion sings.

Aside — Can we please make sure this is nominated for Best Song for the Oscars?

And then. . . it sure takes its time before getting going again. The middle half of the film is packed full of jokes and even a few cool action setpieces here and there, but it doesn’t ever get back to that place of greatness until its last half hour or so. And then it’s sheer perfection. It tops it all off with the single greatest post credits sequence of all time—worth the price of admission itself.

This begs the question, why pad the middle so much? One of the best parts of the first Deadpool was its all-killer-no-filler pace and leanness. This film felt like it was waiting for something (its sudden but inevitable twist!) to take that next step.

This is also surprising for director David Leitch, whom the credits refer to as “One of the guys who killed John Wick’s dog.” Leitch’s previous work on the John Wick movies and Atomic Blonde show not only a great sense of pace, but also a visual style and flair that is missing from this film. This film felt workmanlike and studio-approved-as-safe, but never pushed any boundaries. And that’s what Deadpool is great at.

Also what Deadpool is great at is understanding he is in a movie. That has never been more clear until Deadpool 2. That humor is front and center in the movie, as Deadpool kills not only every bad guy he comes across, but also mourns the death of Logan, kills himself (multiple times), kills different versions of hmself, kills Ryan Reynolds, and on and on and on. It’s so self-aware, and pushes home that if a Fox-Disney merger goes through, Deadpool will be the king of franchise-skewering and post credits scene massacres and cameos.

And while the film lies pretty squarely on the shoulders of Reynolds and Brolin, the supporting performances are really what make the film. Julian Dennison (who was also in Taika Waititi’s Hunt for the Wilderpeople¸which is quickly becoming a major geek nexus) is Russell, our young mutant in need. Like his counterpart in Wilderpeople, he’s more likely to flip you the bird than say thank you, so he’s perfect for Deadpool.

Also pitch perfect is Zazie Beetz, who plays Domino. While Deadpool derides her mutant power of “luck” as being stupid and “not cinematic enough,” it is, in fact, her performance and powers that give the film what visual brilliance and fun it has. Unfortunately, too much of it comes too late in the film, leaving us wondering why we couldn’t have more Domino earlier.

And finally, a moment to talk about Negasonic Teenage Warhead, who it is revealed in this movie, has a girlfriend named Yukio.

Bravo to Fox, who is the first studio to reveal any sort of LGBTQIA superhero on screen in a major superhero franchise. You’d think it wouldn’t have taken this long, but it somehow did. And? It’s treated with such a non-plussed attitude, it’s refreshing. Yes she has a girlfriend. No, it’s not a big deal. At all. And isn’t that how it should be?

So this is a really fun film. It starts strong, then takes a nap for about 45 minutes while it churns through all of the plot, and then gets really great again. Deadpool fans will get everything they want and more. And it makes you even more amped for sequels featuring Cable, Domino, and everyone else.

4 out of 5 stars

Movie Review: Only the Brave

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only the brave posterJosh Brolin’s head firefighter Eric Marsh tells a story of being caught in a wildfire and a bear on fire running out and past them and it being the most terrible and beautiful thing he’s ever seen, which features prominently in the film’s trailer. It’s as apt a metaphor as any for this well-intentioned but ultimately cliched and manipulative film.

Telling the “based on a true” story of the Granite Mountain Hotshots, Only the Brave suffers first and foremost from a terrible and trite title. (Shouldn’t they have just called it “Bear on Fire”? That’s at least interesting.)

The rest of the script doesn’t get much better, including its tagline “It’s not what stands in front of you, it’s who stands beside you.” I don’t even know what that’s supposed to mean. It’s so obvious that it sounds like it’s trying to sound deep, but a similar sentiment could be expressed more powerfully and in fewer words.

So much of the script feels like it was written by a computer trying to sound deep, self-important and patriotic. Some of it lands. Some of it is groan-worthy.

This is a big slab of red meat served up rare for red state audiences who loved American Sniper, 13 Hours, and so on. Who doesn’t love and respect the heroism and rugged manliness of firefighters? Apparently, this jaded liberal.

The film would be so much better if it wasn’t so obvious about everything. An early scene is a travel montage as the firefighter crew gets together to go out on a job. Set to AC/DC’s “It’s a Long Way to the Top if You Want To Rock and Roll” it’s hard not to enjoy a good song and the working class hero vibe they’re setting. But then as Bon Scott sings “Riding down the highway!” they cut to a shot of them. . .  riding down the highway. And that, maybe even more than the flaming bear, is the best explanation of the film.

Also grating is the presence of charisma black hole Miles Teller. As much fun and down home gravitas as the presence of Josh Brolin and Jeff Bridges bring, Teller sucks it all up and ruins it. Teller is also apparently not acting, as he simply shows up playing a stoner douchebro who wants to join the squad to help turn his life around. He is also really the only one of the team, besides Brolin’s character, with any discernible character arc.

This is all so sad, because Brolin, Bridges, and the other supporting cast actually do good work. Even more phenomenal is Jennifer Connelly, playing Brolin’s wife. As the only woman in the cast with more than a few seconds of screen time, she’s expected to stand in for all women in the film, and she delivers.

But this is one of the biggest problems with the film. While it’s absolutely true that the Granite Mountain Hotshots were an all-white, all-male crew, and their story would not be served best by erasing that fact, it’s worth asking why only one female character has any real agency or purpose outside of being an adjunct to a man.

And why is this story being told that features the heroism of white men, rather than another story that might tell about the heroism of other communities? Why are the contributions and sacrifices of women kept behind the scenes?

Still, I’m a firm believer in the aphorism that you should meet a movie where it’s at and what it was trying to accomplish, not judge it based on what it isn’t. And based on that metric, Only the Brave does well. Its aim is low, and it meets those expectations– like a giant greasy chicken fried steak dinner served at a down home restaurant.  Its visuals and human drama are real, even if strained by a barrage of cliches. And as much as Tellar tries to drag the movie down, Connelly, Brolin, and Bridges do their best to elevate this story to honor the sacrifices of these men and their families.

Overall Rating: 2.5 out of 5

Rob Liefeld Gives Us a Look at Josh Brolin as Cable

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We’ve seen how Domino will look in Deadpool 2 but what about the man with the very large guns? Cable creator Rob Liefeld has posted a look at what Cable will look like in the film. The popular character will be played by Josh Brolin.

Josh Brolin is Cable in Deadpool 2

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The Hollywood Reporter has the scoop that Josh Brolin will be time sliding into the coveted role of Cable in Deadpool 2. That concludes whirlwind rumors, and tons of “xyz actor has been offered” the role that these types of things lead to (yay clickbait!). The deal with Brolin is for four movies.

This is the second comic role Brolin will be embodying as he’s also Thanos in the Marvel Universe films. Cable, while also a Marvel character, is in Fox’s universe of X-Men related films.

Brolin has been numerous comic films beyond Thanos in the Marvel Unvierse. He was Jonah Hex in Jonah Hex, Young Agent K in Men in Black 3, and Dwight in Sin City: A Dam to Kill For.

Zazie Beetz was announced not too long ago as Domino in Deadpool 2.

Cable was created by Rob Liefeld and Luise Simonson and is the son of Scott Summers, aka Cyclops, who is sent into the future and returns older and through time travel.

Liefeld said about the casting:

Josh Brolin brings both the gravitas as well as the physicality required to bring Cable to life on the big screen! He’s an amazing actor and I’m as excited as anyone to see him paired with Ryan Reynolds, Zazie Beets in Deadpool 2!! Cable, Domino and Deadpool people!! It’s happening!!!

Brolin will be seen as Thanos in Avengers: Infinity War in 2018.

Julia Garner Joins Sin City: A Dame To Kill For!

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Julia GarnerJulia Garner has joined the cast of Robert Rodriguez and Frank Miller’s Sin City: A Dame To Kill For, which is now filming in Austin at Rodriguez’s Troublemaker Studios. Garner, an up-and-comer whose credits include Martha Marcy May Marlene and The Perks Of Being A Wallflower, will play a young stripper opposite Joseph Gordon-Levitt’s Johnny in the follow-up to 2005′s Sin City, adapted from Miller’s own graphic novel series.

Also onboard for Dimension Films’ October 4, 2013 release are Josh Brolin, Ray Liotta, Jeremy Piven, Dennis Haysbert, and Juno Temple, while Sin City vets Mickey Rourke, Jessica Alba, Michael Madsen, Rosario Dawson, Jamie King, and Clive Owen are returning.

Garner made her feature debut in Sean Durkin’s Martha Marcy May Marlene and nabbed roles last year in Wallflower and Not Fade Away. She recently hit Park City with Jim Mickle’s cannibal pic We Are What We Are, bought by eOne out of Sundance last week. Garner also stars as a young Mormon teenager in Rebecca Thomas’s Berlin entry Electrick Children, which Phase 4 Films will be opening theatrically this March and will next be seen in CBS Films’ horror sequel The Last Exorcism 2, in theaters March 1. She is repped by Authentic Talent & Literary Management and Sloane, Offer, Weber & Dern.

Men in Black 3 is Out Now & You Can Win a MIB Prize Pack!

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Packshot_043396402881_9642A184Men in Black 3 is out today on DVD and Blu-Ray and we’ve got a prize pack to give away to one lucky winner provided by SONY!

In Men in Black 3, Agents J (Will Smith) and K (Tommy Lee Jones) are back… in time. J has seen some inexplicable things in his 15 years with the Men in Black, but nothing, not even aliens, perplexes him as much as his wry, reticent partner. But when K’s life and the fate of the planet are put at stake, Agent J will have to travel back in time to put things right. J discovers that there are secrets to the universe that K never told him — secrets that will reveal themselves as he teams up with the young Agent K (Josh Brolin) to save his partner, the agency, and the future of humankind.

We’re giving you THREE different ways to enter and if you do all three, that’s three entries.

How to enter:

Yes, it’s that simple, no tricks, no strings attached.Frank_BobbleHead

Details:

  • The contest runs until December 7, 2012 at midnight Eastern time.
  • The contest is open to those in the U.S.

Prizes:

  • 1 MIB3 DVD
  • 1 Frank the Pug Bobble Head

You can get Men in Black 3 now from stores.

Jonah Hex in Theaters Today

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Jonah Hex starring Josh Brolin, John Malkovich, Megan Fox and Will Arnett hit theaters today.  Based off of the DC comic book the movie isn’t getting the best of reviews at Rottentomatoes.com.

So far out of 12 critics the movie is rated is 3.6 out of 10 while the community gives it a 4.4 out of 10 (40%) from 64 individuals.  The overall sense of that community is that something is rotten in this adaptation of the DC wild west series.  I’m going out on a limb and guessing this one won’t fair well at the box office.

We’ll likely be defying the critics and heading to the theater this weekend to check it out for ourselves with a review to follow.

For those who don’t want to drop the $10 for the movie, Whiteout which was published by Oni Press and written by Greg Rucka is debuting on Cinemax.  That movie was also beaten up pretty good when it was released.

Anyone excited for Jonah Hex?  Anyone seen Whiteout?