by Josh Sewell
The Running Man
(Rated R for strong violence, some gore and language. Opens in theaters on November 14.)
The premise: Based on an early Stephen King novel (which he published as Richard Bachman), a near-future dystopian America distracts its citizens with deadly, mindless game shows. The top-rated is The Running Man, where contestants must survive 30 days while being hunted by professional assassins. Desperate to save his sick daughter, Ben Richards (Glen Powell) enters the game as a last resort and quickly becomes a fan favorite – which worries ruthless producer Dan Killian (Josh Brolin).
(Rated R for strong violence, some gore and language. Opens in theaters on November 14.)
The premise: Based on an early Stephen King novel (which he published as Richard Bachman), a near-future dystopian America distracts its citizens with deadly, mindless game shows. The top-rated is The Running Man, where contestants must survive 30 days while being hunted by professional assassins. Desperate to save his sick daughter, Ben Richards (Glen Powell) enters the game as a last resort and quickly becomes a fan favorite – which worries ruthless producer Dan Killian (Josh Brolin).
The verdict: Fans of King’s novel will be pleased to know director Edgar Wright (who co-wrote the screenplay with longtime collaborator Michael Bacall) has crafted a more faithful adaptation than the silly-but-enjoyable 1987 version with Arnold Schwarzenegger. As viewers might expect from the filmmaker’s previous works, like Hot Fuzz, Scott Pilgrim vs. the World and Baby Driver, the action scenes and humorous tone are terrific.
He also gets engaging performances from most of his cast, particularly Brolin (in peak slimeball mode), Colman Domingo (as the show’s charismatic host) and Michael Cera, along with a criminally underutilized Katy O’Brian. However, Powell – as much as I like the guy – is the wrong choice for Richards.
While he’s closer to average human size than Schwarzenegger’s version of the character, he still lacks the everyman quality that makes Richards an underdog worth rooting for. There’s never any doubt Powell’s going to beat the impossible odds, because he’s an action hero from the start.
Strangely, the film also loses steam in the last act right when the action should start ramping up the most. That’s unusual for Wright, which makes me wonder if the finale was reshot because of test audience scores or something else going on behind the scenes.
It’s definitely a change from the novel’s ultra-bleak ending (which was probably a nonstarter for a big-budget studio flick), but the director overcorrected too much in the other direction to make the film’s themes truly hit home. Nevertheless, it’s still a fun ride overall.
Grade: B-
Nuremberg
(Rated PG-13 for violent content involving the Holocaust, strong disturbing images, suicide, some language, smoking and brief drug content. Now playing in theaters.)
The premise: In the aftermath of World War II, prosecutor Robert H. Jackson (Michael Shannon) is tasked with ensuring the Nazi regime answers for the Holocaust. At the same time, Army psychiatrist Douglas Kelley (Rami Malek) is locked in a psychological duel with Herman Göring (Russell Crowe), Hitler’s second-in-command.
The verdict: Writer-director James Vanderbilt’s look at the post-WWII ramifications of Nazi atrocities on the global stage is a chilling reminder of why it’s vital for seemingly unstoppable leaders to face the consequences of their actions. Nuremberg isn’t a subtle film, but it’s not aiming to be in our current era of history repeating itself.
Although it’s about 30 minutes too long (there are several repetitive scenes that could’ve been trimmed without impacting the overall narrative), Vanderbilt has crafted a solid “dad movie” that boasts some terrific actors chewing scenery with aplomb. Crowe is chilling as Göring, bringing Hannibal Lecter-style energy to his psychological showdowns with Kelley.
Shannon, probably known to most viewers for playing unhinged, over-the-top characters, is remarkably understated here, keeping Jackson’s anxiety and frustration just beneath the surface. But his character is surprisingly funny as well, delivering occasional one-liners in such dry fashion that it takes a moment to realize he made a joke.
Beloved character actor John Slattery brings his typical energy, while Richard E. Grant is solid in a tiny role. For me, the biggest acting surprise is Leo Woodall, a British actor I was unfamiliar with before seeing him here. As the soldier who serves as a translator for Kelley and Göring, he gets a powerful monologue late in the film that suggests he might have been better utilized in another role.
That would be Kelley, arguably the central protagonist of Nuremberg, who isn’t as compelling as the film thinks he is because Malek is profoundly miscast. The Oscar-winner brings a weird, unsettling energy to his scenes with Crowe that makes his character seem creepier than the Nazi he’s evaluating. I genuinely think the film would’ve been stronger if Malek and Woodall switched parts.
Grade: B-
He also gets engaging performances from most of his cast, particularly Brolin (in peak slimeball mode), Colman Domingo (as the show’s charismatic host) and Michael Cera, along with a criminally underutilized Katy O’Brian. However, Powell – as much as I like the guy – is the wrong choice for Richards.
While he’s closer to average human size than Schwarzenegger’s version of the character, he still lacks the everyman quality that makes Richards an underdog worth rooting for. There’s never any doubt Powell’s going to beat the impossible odds, because he’s an action hero from the start.
Strangely, the film also loses steam in the last act right when the action should start ramping up the most. That’s unusual for Wright, which makes me wonder if the finale was reshot because of test audience scores or something else going on behind the scenes.
It’s definitely a change from the novel’s ultra-bleak ending (which was probably a nonstarter for a big-budget studio flick), but the director overcorrected too much in the other direction to make the film’s themes truly hit home. Nevertheless, it’s still a fun ride overall.
Grade: B-
(Rated PG-13 for violent content involving the Holocaust, strong disturbing images, suicide, some language, smoking and brief drug content. Now playing in theaters.)
The premise: In the aftermath of World War II, prosecutor Robert H. Jackson (Michael Shannon) is tasked with ensuring the Nazi regime answers for the Holocaust. At the same time, Army psychiatrist Douglas Kelley (Rami Malek) is locked in a psychological duel with Herman Göring (Russell Crowe), Hitler’s second-in-command.
The verdict: Writer-director James Vanderbilt’s look at the post-WWII ramifications of Nazi atrocities on the global stage is a chilling reminder of why it’s vital for seemingly unstoppable leaders to face the consequences of their actions. Nuremberg isn’t a subtle film, but it’s not aiming to be in our current era of history repeating itself.
Although it’s about 30 minutes too long (there are several repetitive scenes that could’ve been trimmed without impacting the overall narrative), Vanderbilt has crafted a solid “dad movie” that boasts some terrific actors chewing scenery with aplomb. Crowe is chilling as Göring, bringing Hannibal Lecter-style energy to his psychological showdowns with Kelley.
Shannon, probably known to most viewers for playing unhinged, over-the-top characters, is remarkably understated here, keeping Jackson’s anxiety and frustration just beneath the surface. But his character is surprisingly funny as well, delivering occasional one-liners in such dry fashion that it takes a moment to realize he made a joke.
Beloved character actor John Slattery brings his typical energy, while Richard E. Grant is solid in a tiny role. For me, the biggest acting surprise is Leo Woodall, a British actor I was unfamiliar with before seeing him here. As the soldier who serves as a translator for Kelley and Göring, he gets a powerful monologue late in the film that suggests he might have been better utilized in another role.
That would be Kelley, arguably the central protagonist of Nuremberg, who isn’t as compelling as the film thinks he is because Malek is profoundly miscast. The Oscar-winner brings a weird, unsettling energy to his scenes with Crowe that makes his character seem creepier than the Nazi he’s evaluating. I genuinely think the film would’ve been stronger if Malek and Woodall switched parts.
Grade: B-
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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