Keith Adams Jr

Clint Bentley’s adaptation of the novella of the same name is a beautifully shot, expertly acted and superbly directed meditation on life and all its aspects set against the backdrop of early 20th century America. The cast is extraordinary with quietly scene stealing supporting turns from William H. Macy, Kerry Condon and John Diehl, the cinematography is so lush and eye-catching that it gives massive scope to the 1.33.1 Academy aspect ratio, and the score by Bryce Dessner sets the right tone for the film. This is an excellent picture and one of the year’s best.

Though not as wild as the 1987 adaptation, Edgar Wright’s re-adaptation of Stephen King’s novel is still an absolute blast that sticks close to the source material while also being its own thing with a ton of epic action sequences, irreverent and topical satire and strong performances with Colman Domingo and Michael Cera absolutely stealing the show. “The Running Man” is not as wild as the ‘87 adaptation as stated before but it’s certainly more book-accurate and a true action extravaganza!

If you know of MGM’s output in the 2000s and know that this is an MGM movie by way of Amazon, then you should know that this is the kind of movie that would sit comfortably on a Saturday afternoon schedule back when UPN had the Hot Weekend Movie and all they aired was mid-to-subpar movies from the MGM library. A stock, clichéd, formulaic, super ridiculous action comedy that’s about as funny as a family funeral and twice as cringeworthy. And don’t even get me started on that insane twist regarding Alan Ritchson’s character and his onscreen “son” (I say in quotes because…well, you gotta see the movie…or don’t). Indeed, nothing more than an inconsequential and instantly forgettable MGM bargain bin dust collector for the streaming age.

A stranger-than-fiction true crime story, this is a movie that’s both enjoyable and at war with itself. On the one hand, it has an affable and wholesome (as wholesome as a R-rated dramedy can be) sense of humor and a entertaining dose of crime caper action anchored by solid performances from Tatum, Dunst and Dinklage. On the other hand, it can feel like Derek Cianfrance wanted to make something more his wheelhouse, the more serious character study, while balancing the comical aspects of the story and it can be fumbling at times.