November 24, 2025 • 49 mins
The Projection Booth enters Edgar Wright territory with a deep dive into The Running Man (2025), his audacious adaptation of the dystopian classic. Mike teams up with Midnight Viewing’s own Father Malone to break down Wright’s maximalist world-building, razor-cut action choreography, and the film’s commentary on media spectacle and state-manufactured violence.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Oh jez, folks, it's showtime. People say, good money to
see this movie.
Speaker 2 (00:10):
When they go out to a theater.
Speaker 3 (00:12):
They want clothed sodas, hot popcorn, and no monsters in
the protection booth.
Speaker 1 (00:17):
Everyone for ten podcasting isn't boring?
Speaker 4 (00:20):
Don at off.
Speaker 3 (00:38):
Ben Richards thirty five, married one child in medical crisis.
Speaker 5 (00:44):
We need money for a doctor now, Ben, dress up.
Speaker 3 (00:50):
Employment status blacklist. But there's still a way out for you.
It's the biggest show in the country.
Speaker 1 (01:02):
Is our birthright? Good Fred, Welcome to the running Man.
Speaker 6 (01:11):
People in these games never come back.
Speaker 7 (01:14):
I'm not trying to be myself killed, so kiss my
ass twice.
Speaker 3 (01:18):
Right. There is why you can win this game. The
rules are simple, survive thirty days. The entire nation hunting
me down. I don't get your family had a slumicide
for good.
Speaker 7 (01:34):
I'm going to come back here and burn this building down.
Speaker 3 (01:38):
I promise. That's the spirit.
Speaker 6 (01:41):
This is America, God damn it, and we don't put
up with no bulls.
Speaker 5 (01:46):
Yeah hunt.
Speaker 1 (01:52):
Hemn stop bling.
Speaker 7 (02:10):
Have you ever wondered if this game is rigged?
Speaker 1 (02:13):
I guess we'll find out.
Speaker 4 (02:20):
Should I be moving up to Fay Hey, buddy, you're
all free v.
Speaker 1 (02:31):
Yeah, you better run. I got a good name.
Speaker 2 (02:43):
Backcat h.
Speaker 1 (02:53):
I'm still here, just shiit eaters.
Speaker 6 (03:03):
Beg by.
Speaker 5 (03:09):
Which I'm crazy.
Speaker 7 (03:18):
Welcome to a special episode of the Projection Booth at
Midnight Viewing. I'm your host, Bike, whycho and me? Of
course is Father Alone?
Speaker 2 (03:25):
Oh hey, I'm running.
Speaker 7 (03:27):
He's definitely running. He's running in place this whole time.
If he sounds a little winded at the end of
the recording, now you.
Speaker 2 (03:32):
Know know why I got one of those standing discs.
Speaker 7 (03:36):
On this episode, we're going to be discussing Edgar Wrights's
The Running Man, the twenty twenty five adaptation of Stephen
King's dystopian thriller. We will be discussing Wright's kinetic style,
the film's political edge, and Glenn powell S Cinema's new
Everyman from a spectacle as entertainment to the eerie familiarity
of its media circus. We will be spoiling the film,
(03:58):
the book, and of course the nineteen eighty seven film
while we're at it. So fatherm Alone can't ask you
when was the first time you saw it? Because it
was probably this weekend. What did you think of The
Running Man?
Speaker 8 (04:10):
I'm a long time Stephen King person. Obviously, I read
the Bachman book when it came out, and I saw
the Schwarzenegger movie in the theater and I've seen it
a couple times since. Then saw this movie two days ago. Now,
as a fan of sort of the book, first, I
think this is a much more layered and true version
(04:33):
or adaptation of that novel, and much more just the
spirit of it, never mind the sort of plot and everything.
Speaker 2 (04:40):
And I think it was.
Speaker 8 (04:41):
Overall really enjoyable, and I thought, oh, this is a
step above the Schwarzenegger movie finally, because I was never
that big a fan of that movie. As an adaptation,
I liked this movie plenty, but I think the last
twenty minutes of this movie ruined the whole thing for me.
So I can't and if someone were to ask me,
(05:01):
would I recommend the movie. I probably wouldn't based on
the end, but I kind of liked it.
Speaker 7 (05:06):
That's about my take as well. I really like the
original Running Man from nineteen eighty seven. We talked about
it gosh all the way back in twenty seventeen. Simpler
times twenty.
Speaker 2 (05:19):
Seventeen, less dystopian. I don't know.
Speaker 7 (05:23):
If Edgar Wright was the right person to direct this,
just because I think he gets so caught up in
the neon slickness of things that the dystopia part really
takes a back seat. Sometimes. I've wanted this to be
set more in a Children of Men type of world
(05:44):
rather than everything seems to be pretty umpart with where
we're at today. It doesn't seem to be as desperate
as the book.
Speaker 8 (05:53):
To be fair, had this movie come out a year ago,
you would have felt this was a dystopian view of America.
Speaker 7 (05:58):
I think you're right, especially now with the whole idea.
And it's so funny that they even were doing this
back in eighty seven, the idea of deep fakes and
recasting things when it came to showing us how awful
Ben Richards is. Now it's just people make AI videos
of other people all the time and have them do
(06:19):
absolutely awful things. And so now you're watching this on television,
the television of twenty twenty five, The Running Man, and
you're like, yeah, I can see that. Of course, that's
probably not very difficult for them to do it all.
And there's one point where Richards even says, why didn't
you fake the whole thing? I guess we do find
out the answer about Richard's family that we don't know
(06:41):
in the book, and that the book that ending is
just it tears the heart out of you. It's amazingly
just dire. And the way that they have to double
back on that with this and suddenly becomes a conspiracy
theory type of thing. And my god, is somebody who
(07:01):
just saw Bugonia like two weeks ago. I'm like, can
we quit making conspiracy theorists the hero of these films
because it's not really a good thing.
Speaker 8 (07:11):
Last night I watched the first three episodes of Vince s.
Guigligan's new series Pluribus, and that's about an alien invasion,
but it's a viral thing. And early in the pilot
of the series, our lead characters looking up and she
sees contrails all through the night sky like patterns of them,
and she's like, wow, that's interesting, and that's how they're
spreading it. Had the same exact thought, Yeah, that's clever
(07:35):
and fun to confirm conspiracy theorists as correct. Nevertheless, stop
doing it, because apparently we're all doing it and we're
actually legitimizing it, so knock it off.
Speaker 7 (07:47):
I was a breakfast this morning, and there was a
guy sitting across for me that had a QAnon shirt on.
That's okay, you just wear your mental illness on your
shirt these days. I guess that's how we're doing it.
And when I watched these characters, like because they don't
go too into the QAnon or the conspiracy theory type thing.
And we're supposed to be all appreciative of these guys
(08:10):
who are making these like zines or basically YouTube videos
or maybe TikTok type videos. They're the ones who know
the truth and this is how they're trying to get
the truth out. It just feels so wrong in twenty
twenty five to see these videos where you're like, this
is what's really going on. I'm like, all right, whenever
anybody tries to tell you that, you know, they're just
(08:32):
one hundred percent full of shit.
Speaker 8 (08:35):
Yeah, And it's a lazy way to add a narrator nowadays,
to have the conspiracy nut that's it's the same as
the tabloid reporter or something the modern day equivalent. And
it's unnerving at best. As to that powerhouse ending from
the book, the one that you can't make into a film,
(08:56):
anymore since the year two thousand and one. It speaks
to the problem with both films, which is the book
is about a guy who gets onto a game show
because he is completely desperate because his daughter is ill
and he can't get work anywhere because he's basically been
blacklisted for one event that happened early in his life.
(09:16):
So he goes up against this sort of corporation that
is running everything. Like you said, they're controlling the narrative
with deep fakes and everything. And in the book, at
the end, he effectively crashes a plane into the network building,
potentially creating the spark that will ignite a rebellion against
the corporations that are oppressing everybody. That's the idea. The
(09:40):
movies want to have both stories playing out simultaneously. They
want the guy on the run with everyone against him,
and they want him to be sparking the revolution. It
ends with a spark, or don't include it, because they
want the fucking revolution to happen, and they like.
Speaker 2 (09:57):
Want a triumph.
Speaker 8 (09:58):
They want the government to come down and we are
suspending our disbelief so fucking hard already for this dystopian world,
and then to dismiss it away it's almost like a
fairy tale ending.
Speaker 2 (10:08):
Like both films, I.
Speaker 7 (10:10):
Kept seeing headlines about this movie going Edgar Rate's film
is great until it stumbles, and I'm like, oh boy,
where's the stumble going to happen? So I knew going
in that something bad was going to happen. And at
the same time, I don't necessarily believe headlines because it's
like what you consider a stumble in a movie. I
might consider the greatest twist of all times. Watching this,
(10:33):
I just can say, Okay, what's it going to be?
Speaker 2 (10:35):
What's going to be?
Speaker 7 (10:35):
When Michael Sarah shows up and he's playing this character
who in the book was basically had no discerning personality.
All he was was fat, And we know that Stephen
King does not like fat people. What's whatever? So just hey,
this guy's fat and his mom's crazy. As mom calls
the cops and they are on the run and getting
(10:58):
this big car wreck, and guy drives off as he's
like bleeding out and coughing up black blood and bile
and all this stuff, And I'm like, okay, is it
that Michael Sarah is again the conspiracy theorist and that
he's got the zine making stuff, and that he's got
all of these traps in his house. Is that the
(11:18):
twists that they're talking about, Because up until that point
it's a fairly good adaptation. It stays pretty true, and
even after that point they get back to it a
little bit more, and I was like, all right, Yeah,
this isn't too bad. What are they talking about? What's
the stumbling block? Because I just see so much of
this being such a good adaptation. Again, I would have
(11:40):
liked it to have been a little bit more dire.
We're selling tickets here, I understand if you're not going
to make this a gut punch every single way around.
But then I saw where the real twist came in,
and that was Lee Pace playing this mass killer and
not being Kevin Durant. Why was Kevin Durant? That was
(12:01):
the whole movie for me. It just got ruined at
that point.
Speaker 2 (12:04):
The moment that the movie veered.
Speaker 8 (12:07):
Literally off course is when he gets into the car
with Amelia or whatever her name is at the end.
As soon as that character opens her mouth, as soon
as it becomes a polemic about the halves and the
have nots, who fucking cares? At this point, you are
on the run. It was so clumsy and stumbling, whereas
everything seemed really fleet of foot and kind of economical.
(12:29):
Didn't notice time passing. Was actually interested in these characters,
was interested in the world they had created.
Speaker 2 (12:36):
And then in one.
Speaker 8 (12:37):
Scene it just completely dissembled it. And then it does.
It continues to stumble along like I can't believe how
far it falls when it gets there.
Speaker 7 (12:48):
When she showed up, I was like, oh, yeah, she
is in the story. I do remember her, but she's
no Maria kN cheetah Alonzo. I just was not following her.
I like the Maria and chidah Alonzo character a lot
because she is the what she writes the music for
the network, so she's like in that pocket. And then
(13:09):
she's got ooh, illegal music and illegal clothes and all
these things, contraband got this. They're all in a sense
at list and look what we have here.
Speaker 3 (13:22):
This looks like black market clothing.
Speaker 2 (13:25):
And she wrote the network.
Speaker 3 (13:26):
Jingle Come on, everybody does it.
Speaker 7 (13:30):
Okay, yeah, that's true. Everybody does do this. But eventually
you're gonna get punished for it, and you're gonna be
made an example of. I like her way better than
this other character. Make her more vapid because they get
what ten minutes with this character if that, and they
just she switches like nobody's business.
Speaker 2 (13:50):
It's oh my.
Speaker 7 (13:51):
God, I have this murder in my car to oh sure,
I'll help you out, and it's within it just a
few moments. I was like, that doesn't ring true at all.
And I know you can stretch it out longer in
a book, but it just does not ring true to me.
Speaker 8 (14:06):
Remember they live where rowdy Roddy Piper kidnaps Meg Foster
and he gets her from the parking lot all the
way to her house and she's playing along the entire
time before she clocks him with the bottle and he
goes out the window. That would be the mindset of
anyone being kidnapped by anyone, particularly a character who's basically
(14:27):
like she's a rich person. In this movie there are
haves and have nots, and she's basically poor people are
a piece of shit. And then he says three things
my daughter was sick, and she's like, oh my god,
my entire worldview is incorrect. I'm going to help you
win this game. What the fuck, Edgar?
Speaker 7 (14:45):
You see that scarf? That scarf costs more than my
daughter's welfare.
Speaker 8 (14:50):
What was that terrible Joel Schumacher movie with Matthew McConaughey.
It was like a John Grisham novel. It was like
a case where Samuel Jackson was on on trial and
Matthew McConaughey's big closing statement was and now imagine they
were white and the jury is like, oh my god,
we'll let this man free for wantonly killing these people.
Speaker 7 (15:12):
That the yes, I did, And I hope that burn
in Hell was that one.
Speaker 2 (15:16):
It's the one. Yeah, time to Kill is some name
of it.
Speaker 8 (15:21):
I'm so mad, and that the movie's so fresh in
my mind at that ending that it painted over a
lot that I liked about the movie, and I did
like a great portion of it, including Glenn Powell, who
it's the second time we've gotten a shot at Ben
Richards as a character, and the second time they've gotten
it completely wrong. As far as the guy's physique and outlook,
(15:42):
he's beaten, broken down, described as near tubercular. I read
the book again yesterday. He's as near tubercular, and here
we've got this another buff guy. But they leaned into
the anger portion of it, which I really liked and
accept it's one of these things where they did this
(16:02):
in the first film too. Now I thought this was
just a facet of eighties action movies where they needed
the hero to be an anti hero, like they had
to have break there, breaking out of prison or something like.
Speaker 2 (16:12):
There were so many characters, but of course, like the A.
Speaker 8 (16:15):
Team, they were all wrongly convicted, just like Ben Richard's
in the first film. So they repeat that here where
his temper has gotten him kicked off of jobs, but
it's because he's protecting the downtrod in every single time,
it's basically frame for a crime he didn't commit. Having
said that, I liked that in the moments where they
(16:37):
were displaying the anger, that's when Edgar Wright came alive
as a filmmaker and the film came alive. So for
some reason, anger in the first portion of this movie
really clicked with me.
Speaker 7 (16:50):
Howl was an interesting choice for me because I think
I've critiqued most schort Sen Maker films, especially when it
comes to something like a total recall as far as
what if a different person were playing this, What if
somebody who you wouldn't expect to look like a secret
agent was playing a secret agent, like Arnold. You look
(17:10):
at this guy and he's not human. He looks like
an uber human. He doesn't look like a regular just
John and Mary Jane walking down the street type of person.
And you get Powell and I'm like, Okay, that kind
of makes sense. Like I agree with you that he's
very jacked in this movie, and like where you're getting
all that protein from Buddy, like ye right.
Speaker 2 (17:32):
In dystopian land, my god.
Speaker 7 (17:34):
Maybe even swap out with Lee Pace or something who
looks a lot more normal than that. But yeah, it's
funny because Glenn Powell, I know, I've seen the guy
in probably a hundred things, but he just slides into
the background for me. He doesn't have anything that I
can latch onto, and I almost think that was a
(17:55):
good thing for this movie. There was one point, yes,
he goes into sky and he's got the businessman's suit,
the veteran suit, and the priest suit. And there was
one moment in the film where we see the what
was it called Running for Bucks or whatever the real
show was that they had, and Sean Hayes shows up
(18:16):
as a TV host on there, Gary Greenback's and they
use him for just that one scene. And while I
was watching it, I kept going, is that Glenn Powell
just in a different disguise? Like he looks so generic
that I was like, he could be anybody. But then
I was like, no, that's Sean Hayes. I can actually
recognize him. If not that sound mean, but if Glenn
(18:39):
Powell walked up to my house tomorrow, I'd have no
idea who this guy is.
Speaker 2 (18:44):
That is true?
Speaker 8 (18:45):
Can I just mention in the actual Running Man television
show that we get in this movie, during those early
sequences where they're introducing the runners to us, they do
one thing where they have each of their faces and
then a potential costume disguise generator that plays over their faces.
And I just thought that was brilliant because that's the
(19:07):
thing that I felt was really missing from the Schwarzeneger movie.
And by the way, like you said, when you look
at Swarzenegger, yes, of course it's going to be a
gladiatorial combat on live TV and not a cross country
on the run thing. In all the movies, you have
a group. In the movies and the book, you have
a dedicated group of hunters like government assassins chasing them down.
(19:29):
But what was missing in the first film, and what
really scared me in the book is that everyone's after you.
You are never safe, like literally anyone can look at
you and turn you in instantly, not to mention that
they're playing dirty pool the government themselves, but like that
sense of desperation never comes through in the Schwarzenegger movie,
(19:49):
not that they're going for it, but you get that
in a few scenes here, and I liked that.
Speaker 7 (19:54):
No, I like that as well. And I do like
this whole idea of you can't trust anyone at all
and that you might get turned in, even by somebody
who is pretending to be your friend. I really like that.
And I also I know one of my wife's complaints was, oh,
I would have liked to have seen the other contestants more,
and I was like, that actually fits more with the adaptation,
(20:17):
because again it's all from Richards's point of view, like
we really should not have any scenes that go outside
of what he knows. And that was one thing I
really liked about King's book was we only know what
Ben Richards knows, and there are times where he will
have dreams and he will dream about things or even
just like very vivid thoughts as far as they probably
(20:40):
figured out this and then they probably went here, and
then they probably went there. So when they break away
from Glenn Powell in this movie, like occasionally going to
the wayam H Macy character, I was glad. It felt
like that was inside of a dream. So it wasn't
again going away from Ben Richards and it wasn't just
here's what else is going on. Here's Killy and talking
(21:03):
about this, and here's this other TV host, and here's
what happened with these characters after Ben left them. I
like that we stay with Ben the entire time, and
that when he sees the fates of his fellow contestants,
it's us seeing it at the same time, and it's
us watching it on television at the same time he's
watching it on free TV, I should say free V.
Speaker 8 (21:27):
It's a clever conceit that we can continue to jump
outside our lead character's perspective because the rest of it
is supposed to be on television anyway. And one thing
that I've really liked that Edgar Wright added were the
little drone cameras like little vultures, Like you see them coming,
then you know the actual live team is there, so
you're fucked. Basically, it's a nice way to ratchet up panic.
(21:50):
It's like seeing the barrels pop up in Jaws.
Speaker 7 (21:54):
Again, we've got the conspiracy theory about the DNA sniffers
and that we actually do get to see those being
used in the way that the drones are being deployed.
But again, like we get to that the woman that
he kidnaps, and they can generate the AI image of
her screaming out the car like immediately, and I'm like,
(22:17):
all right, that's kind of weird. And also that she
doesn't freak out about it and go, oh my god,
I didn't do that. I'm not on TV right now
because just like everybody else in the world, she's watching
that weird Americanos show. So you'd think that she so
bought into what the network selling her that it would
be a major departure for her to ever think that
(22:39):
she could be lied to by the free v.
Speaker 8 (22:43):
Yeah, you would think that would be the moment that
would turn her mind, and not the fact that her
scarf cost enough to feed a bunch of children.
Speaker 7 (22:49):
And the thing with the way h Macy character Molly
that he had the uniform ready for Ben and it
was one of these. If only you had come by earlier,
we could have been partners. I'm like, yeah, that was
made up whole cloth, that wasn't part of the book,
and that was definitely a little like, oh look at
the irony here. Let me stab you in the side
(23:10):
with the irony pencil.
Speaker 8 (23:12):
I felt the same way. I thought, oh, you prick Edgar.
This is bad enough for Ben. Why did you do
that to him as well?
Speaker 7 (23:19):
I was glad though Edgar Wright seemed to stay his
hand pretty well. We got a couple needle drops. That's
what I'm expecting when I see one of his films,
But it actually felt fairly well put together and not
nearly as sentimental as some of his other things.
Speaker 8 (23:35):
Way less sentimental, and could have been the most sentimental.
Given the sick child subplot. I thought he handled that
with a plumb. I think this is his most restrained
film because he allowed himself to let the Edgar writ
aspect of his filmmaking out during the Running Man. Television
portions of it like so many cutaways to people having
(23:56):
their heads blown off.
Speaker 7 (23:58):
Yeah, which is funny because just having The Long Walk
on my television a couple of nights ago, I'm just
like headshots galore, and then we're back here and I'm like, Okay,
more head shots, all right, hing as Bachman feels like
he was the angriest of all time between those two
stories and then Rage and roadwork, And it's funny how
(24:22):
close the Long Walk and Running Man really are as
far as the dystopian future story where they have these
quote unquote game shows to keep people in line. King
must have just been just a font of rage at
the time that he was writing these that.
Speaker 8 (24:38):
This was written in one week, a snowbound week, and
his double winde trailer on break from his teaching job,
with his wife and child trapped in that trailer, and
most of the Bachman books I think were written in
this near fugue state of young desperation and anger at
his station in life, and those really and it's that
(25:02):
part of the writing that sends them apart. And I
think if some loser hadn't tried to blackmail King by
uncovering Bachman, I think Bachman could have continued to have
a healthy career, allowing King to burn off that bit
of anger and steam.
Speaker 7 (25:17):
Missed the Bachman of old. Because when I read those books,
and when I read thinner. I was just like, wow,
this is amazing those four things in the Bachmann books.
I mean, they can't even publish Rage anymore, is from
what I understand. And then did they come back and
try to write like another Bachmann book?
Speaker 8 (25:36):
He did when he was writing Desperation, he rethought about
the whole thing, like the same characters in a different
configuration and a much meaner configuration, and thought Richard Bachman
would have written that.
Speaker 2 (25:48):
So that's the last Bachmann book.
Speaker 8 (25:50):
It's not as good as the early stuff, obviously, because
it's too measured and it's too thoughtful, and the early
Bachman books do feel like they were written in a week.
He can't get the fucking words out of his fingers
onto the typewriter carousel fast enough.
Speaker 7 (26:05):
I love the use of the forty nine in counting,
like the countdown through the entire book for each chapter
that you have, and you're just like, fuck, what's going
to happen when it hit zero?
Speaker 8 (26:18):
I thought that was going to get old, And it's
like almost halfway through, I'm like, oh no, watching the
numbers slowly click.
Speaker 7 (26:24):
They still don't do a great job when it comes
to telling you how many days have passed, and you
would think that they would have done that every new
day there would have been the title on screen, because
they do a pretty good job with that machine that's
on his arm to say, Okay, you just got this
much bonus money, here's the new day. You have this
many hours until you have to start submitting your tapes
(26:46):
and all those things. But after a while, I was
just like, you're on day thirteen. How did that happen?
When did that take place?
Speaker 2 (26:54):
Yeah, that was quite a leap there.
Speaker 8 (26:57):
The Michael Sarah character when he pumps up, I actually
really liked that character because that was the character who
it's in the book. It's his mom freaks out and
calls the police, and here's actually Michael Sarah because he's
so delighted because he wants to take on the police.
I thought that was really funny, and the entire contraption house,
I know, it was very Edgar right and very not
(27:18):
the book. Nevertheless, like I thought it was in keeping
with the action up until that point.
Speaker 7 (27:24):
Once it happened, I had no problem with it. And
I liked Michael Sarah and I liked him so much
more in this than I did Scott Pilgrim, where I
wish I could have shot him.
Speaker 2 (27:32):
In the head.
Speaker 8 (27:33):
Scott Pilgrim is a prick of a character. This kid
is just a freak you mentioned earlier, like the DNA sniffers,
And they make a point to show that they're actually
tracking him through the mail when they claim they're not
going to do that. So the character in the book,
in the movie, he has to send in videotapes of
himself every single day. It's basically, so you don't get
on a boat and go out in the middle of
(27:54):
the ocean for thirty days and come back. You have
to stay in the United States and you have to
stay on the ground and in cities or close enough civilization.
They claim they're not going to track you. That's how
they're tracking him. And then they mentioned DNA snippers and
we see one come out. Here's the thing. They didn't
just put a fucking subcutaneous GPS tracker into him. They
think of so many cool and clever innovations with technology,
(28:16):
and yet the most basic one that my fucking dog
has right now.
Speaker 2 (28:19):
Nobody thought of that when they were writing the screenplay.
Speaker 7 (28:22):
And then how he keeps talking about, oh yeah, there's
a bomb shelter and you're going to go in this
bomb shelter. I guess they do explain away the whole
pre record all the tapes kind of thing, but at
the same time, I'm like, okay, yeah, like I need
a little bit more of that. I do appreciate in
the book this whole like, you're going to drop these
tapes and they're going to be sent to the guy
in Brooklyn, and then he's going to mail this stuff out.
(28:44):
And then at one point when he meets the character
who's basically the Michael Sarah character, is no more sending
those tapes there. You're going to send them to Cleveland
and what happened to the guy from Brooklyn? And it's like,
we're not going to talk about that. So you're just
like again and a fantasy a sequence where they're torturing
that poor kid, and you're like, Okay, that probably is
(29:08):
what happened. Again, we don't know because we can't know
outside of what Ben Richard snows.
Speaker 2 (29:14):
God damn, Mike, this movie was so good for so long.
Speaker 7 (29:17):
It was just takes us a weird turn and yeah,
just goes so far the other way. So are we
to believe then that his wife sorry total spoiler territory.
His wife ends up getting the money.
Speaker 2 (29:34):
Is that right?
Speaker 7 (29:34):
Because she's shopping at what looks like a very nice
shopping place, not scrounging for food, not selling herself, which
is like they make a big deal in the movie
to be like, no, I don't even let these guys
touch my ass, whereas in the book it's just oh, yeah,
she's turned her tricks to make money to buy that
kid medicine.
Speaker 8 (29:54):
Yeah, it's up the urgency of joining the running man
in the book. Here it's like she's doing double shit,
set the club just to endure these leering men and
come on, yeah, either go for it or don't. And yes,
the thing is he is winning money along the way,
like he wins money per day, so it's an accumulation
(30:14):
and then he gets a sort of a big prize
at the end, and everyone he kills along the way
he tries to stop him, he gets a bonus for
including the hunters, even if he doesn't kill them. So
I assume that money is funneled directly to her, like
they claim that they went and pulled her out and
brought her into witness protection immediately, So I assume if
she's actually still alive, which, by the way, was a
huge mistake because I know that they said it in
(30:36):
the book and they didn't really deal with it at
all in the Schwartzenegger movie here. But when Killian played
by Josh Brolin here says, oh, sorry to break it
to you, I was like, oh, man, they did it.
They killed his family, and they should have justified the
rollicking sort of fun we've been having for a little while.
(30:57):
Maybe papered over the horrible text. Some text is text
conversation in the car on the way to the plane
with that thing, but it just ends up we want
a crowd pleaser at the end.
Speaker 7 (31:11):
I don't know, man, Yeah, I thought it was as
made up as the three previous winners of The Running Man, Whitman, Price,
and Hadad. That was always my favorite thing from the
eighty seven film was this whole Oh yeah, look at
these guys. They're down in sunny Florida out in Hawaii
and they're drinking drinks with funny umbrellas in them and everything,
(31:34):
and then they find their skeleton. So I was just like, yeah,
I don't believe at all that they were going to
give her any money. So when she shows up at
the end, it seems like she's living on Easy Street.
I'm like, really, And then they have that whole thing
of almost like a walled city. It's almost a little
Land of the Dead esque where they've got the nicer
city outside of the rest of the city. Here's where
(31:56):
the slum people live, and then here's uptown basically, and
it takes a lot to get into uptown. And I
guess apparently all you have to say is that you're
trying out for the game. So he gets into the
uptown and I'm guessing that's where the wife is. But
then that there's graffiti behind him that says Richard's lives.
I'm like, okay, yeah, that's a great way to reintroduce
the character back to the narrative. But I don't think
(32:19):
that's going to happen in the nice part of town.
I can see that being the rallying cry and the
thing that is all over the slums.
Speaker 8 (32:27):
If it were more like Land of the Dead, the
original script for Land of the Dead, where there was
no wall, there's no separation. You can't have the revolution
if you can't get at the oppressors. And he takes
pains to show us how separated. This city is again.
I know, I just keep saying the same shit, man,
But you can't show us the entire revolution at the
(32:48):
end of this movie. You could potentially show the people
are starting to fucking wake up and revolt, but he
fucking walks through fire at the end of this movie
to just dispatch Killian, the.
Speaker 2 (32:58):
Head of the network. What planet have we jumped on
to it? I don't know. Did you stay to the end?
Speaker 8 (33:04):
Was there a post credit scene where Richards wakes up
and this last portion was a dream and he's still
in Michael Sarah's house and then they kill him.
Speaker 7 (33:12):
I did actually stay till the very end of the
credits because I was amazed. Now this is going to
be a weird thing to say, but I was amazed
that they allowed them to do unstandard credits through the
entire end credits scene. I thought for sure as soon
as the outro song ended that they would switch from
the zine credits that they were doing to regular scrolling credits,
(33:34):
because I was like, these are flashing by so fast,
I cannot read anything things, And I thought that was
part of the rule of Hollywood. It was like, Okay,
you can do your funny credits. You can do your
outro to all the Spider Man movies and these kind
of things, but at some point we're going to end
that first song. We're we're going to come back with
(33:54):
the second song, and that's where we have to have
the real credits start. So I was just shocked that
we went through the whole darn thing with those zene credits.
Speaker 8 (34:03):
I think that the rule is that it has to
be on screen for a certain length and that's it. Like,
how you presented is entirely up to you, as long
as you can prove it was there.
Speaker 7 (34:11):
It was like three seconds for some of those. And
I'm trying to read the cast list, I'm like, who
was playing the Oh, okay, it's gone, Like who is
the guy who I just see flashes of in some
of the trailers? I'm like, was that is there any
way that there? That was Simon Peg or is this
somebody else? It was somebody else? It was that little guy.
(34:32):
He ends up not murdering him, and he comes back
towards the end.
Speaker 2 (34:36):
Oh, the blonde guy with the blond guy smoking guy.
Speaker 7 (34:39):
Yeah, he ends up. I know for sure he's not
there at the very end, but he doesn't murder him
in cold blood.
Speaker 2 (34:46):
Yeah, because he's a decent start at this anti hero.
Speaker 7 (34:50):
I can't see the hero of King's work actually sparing
his life. I could just see him just putting a
bullet between his eyes.
Speaker 8 (34:58):
That man has tried to murder him multiple time, had
tried to murder him moments ago, had bragged that he
was going to cut his achilles tendon and then drag
him out and then execute him. On television. He can go, you're.
Speaker 7 (35:10):
Free to leave, sir. You might have a limp now
because I cut your achilles tendon. But yeah, well that
was turnabout.
Speaker 2 (35:16):
I like that though.
Speaker 7 (35:17):
It's very funny that we end up in Derry, Maine.
At one point thought that was pretty nice. I kept
waiting for Pennywise to pop out and be one of
the hunters as well, but that didn't happen.
Speaker 2 (35:30):
You know what's funny.
Speaker 8 (35:31):
I saw the movie Friday and noticed that they were
going to the Dairy Airport on the little GPS thing
and thought, oh, that's clever. I'm glad they added that.
And then when I re read the book, I was like, no,
they were going to Dairy anyway.
Speaker 7 (35:42):
Sure enough, Yeah, if it was the Lengelers. It would
have been the bangor Airport.
Speaker 8 (35:47):
Future Boston looks a lot like Czechoslovakia, but.
Speaker 7 (35:53):
I think it was Bulgaria. I think yeah, because we
kept seeing all of the Slavic names and the credits,
and my wife was like, where they shoot this Ukraine.
I was like, I don't think they're shooting anything in
Ukraine except for people. Right now, let's move past that
and we'll see where it actually was shot. And yeah, Bulgaria.
Speaker 8 (36:09):
Yeah, I didn't remember the streets looking quite like that,
and I'm happy to be away if that's what it's
gonna look like. However, my currency, Las Vegas is looking
fucking spectacular in the futures. I liked all the cutaways.
I want to watch an episode of The Running Man,
to be honest, I hope they give us one of
those as an extra or something, because that'd be pretty good.
Edgar Wright started on television and a lot of his
(36:29):
televisions was really good, so his television instincts are fantastic.
I want to see a full episode of The Running.
Speaker 7 (36:35):
Man in the meantime. I don't know if you've ever
seen Series seven The Contenders, but that's another great people
Hunting People movie, and it was right at the beginning
of reality television, and they shot this whole thing like
reality TV. It is so good.
Speaker 2 (36:50):
Yeah, I love that movie.
Speaker 8 (36:52):
Battle Royale came in around the same time and everything
became reality after that, and everyone kept talking about the
Running Man, that.
Speaker 7 (36:59):
Whole thing with the Americas. I was hoping that would
have been a better show within the show type of thing.
Instead it was just so Kardashian, and I was like,
this could have been more biting satire. They really could
have had more with this, and they didn't go for it.
Speaker 8 (37:15):
Given where we are, it could have been the royal family,
it could have been the presidential family is just as
a reality show. That's how ridiculous everything has become instead
of socialites.
Speaker 7 (37:28):
That was the one thing I really liked about the
eighty seven movie is when Killian is get me the
President's agent on the phone, this whole idea of everything
is just play acting, which is so what it is
today and just what's going to make the best SoundBite.
Those kind of things. Kind of wish that they had
leaned into that a little bit more as well, because
(37:49):
they don't really talk about too many of the political things.
That are going on in the world.
Speaker 2 (37:55):
Here.
Speaker 8 (37:56):
At a certain point he comes across a family who
it's the Boss sequence actually, where they end up smuggling
him to Manchester, but they have a younger sister who
is dying of cancer. That's a huge portion of the book.
It sends Ben Richards off on this fact finding mission.
The book in the movie takes place in twenty twenty five,
but the government stopped releasing information about pollution in two
(38:17):
thousand and three. Everyone has these scrubbers they wear in
their noses. Rich people have them and poor people don't.
Everyone has cancer, and he spends a good portion of
the book preaching about the perils of pollution. None of
that plays here.
Speaker 2 (38:33):
Some of it.
Speaker 8 (38:33):
We get the little girl who's sick and has cancer,
and we have some lip serves to it. But why
bring that up if you're not going to bring the
other part up?
Speaker 2 (38:40):
I don't know.
Speaker 8 (38:41):
It just makes me admire the fucking Schwarzenegger movie and
that it jennisoned everything and just went here's what they
were talking about, game show and revolution.
Speaker 7 (38:50):
Yeah, instead to say, oh, my sister has cancer. Because
there was a nuclear disaster Rhode Island that nobody talks about.
I was like, no, I think it's much more hard
hitting that everybody in the world is basically dying of
lung cancer, emphysema, horrible asthma. He asked them, do you
(39:12):
have asthma? He said, well, yeah, yeah, actually I do
have a little bit of asthma. What about this person?
That part is, Oh, yeah, so many people I know
have asthma. And yeah, those nose filters become this major
thing and how expensive those are. But then you know,
the guy and his friends ended up going to the
library and they built them. I love that whole thing.
How they have one suit and they rotate the suit
(39:32):
through them and they all go to the library and
read stuff. That's the underground is going to the library,
which I found to be wonderful. And yeah, instead of
being like an environmental message in twenty twenty five in
a mainstream movie about how the quality of the air sucks,
instead we're going to be like, no, it was this
(39:52):
isolated incident in Rhode Island that was really just ballless.
Speaker 2 (39:58):
Yeah, just don't even bring it up.
Speaker 8 (40:00):
Just don't mint don't write the fucking daughter character into
the story. I'm not the daughter, but I'm talking about
the younger sister who has the cancer that brings up
this conversation. Just as easy to leave her out, don't
even go home with those two guys, just have them
immediately get on the road.
Speaker 7 (40:16):
Yeah, that felt very easy, the way that he made
friends with them. And I'd like that whole idea too,
of how the character is really putting on an act
as far as again, Stephen King this kind of shucking
and driving thing that he does for a lot of
black characters, but then he can just turn it off
in an instant and become much more erudite and just
(40:38):
basically that's for the kids, that's for the people on
the street. This is who I really am.
Speaker 8 (40:44):
That's not a lot, doesn't he doesn't It remind you
of Robin Williams and every black character he ever performed.
Speaker 2 (40:50):
A Yo, blah, what's going so?
Speaker 3 (40:52):
Man?
Speaker 7 (40:53):
He gotta make you shit in your boot it eat it? Yeah, Yeah,
I was glad that didn't come up ten times like
it does in the book.
Speaker 8 (41:00):
Yeah, that's the other the King ism, Like he finds
a phrase and he repeats it into the fucking ground.
Speaker 2 (41:05):
Los.
Speaker 7 (41:06):
Yes, I think I agree with you. I don't think
I would necessarily recommend this to other people to check out,
unless they just redid the ending to make it the
true ending in the book. I hate to be such
a purist, but that ending hits a lot harder than
this bullshit that they ended up giving us.
Speaker 8 (41:25):
A good ending is an inevitable ending. The inevitable ending
of this story that they're trying to tell based on
that book is Ben Richards killing himself and taking the
network with him. Obviously, we don't want our hero flying
a plane into a building as an act of heroism. Nevertheless,
there are other ways he could have done it besides
(41:48):
striding in like a fucking Marlborough man and the last
scene based on nothing at all and smacking around our villain.
I couldn't believe the fucking end of this movie, man.
Speaker 7 (41:58):
I thought for sure, since they set us up with
that shot of that explosive, the black Irish that does
come back in the movie later on with the whole Oh,
I've got all this explosives in this purse and I'm
gonna blow up the whole place. And of wish that
maybe he actually had grabbed some of that black Irish
(42:19):
or was able to get back to Molly's place at
some time, maybe Molly didn't get caught or I don't
know how it would have worked, but something better to
bring that back in a better way, because yeah, he
doesn't have to fly a plane into the building. Still
would have been pretty cool. And as soon as I
saw that stuff in the trailer, I was like, good,
we're finally going to get the ending that the Running
(42:41):
Man deserves, only to have the rug ripped out from
under us. And to your point, yeah, he still could
have blown up that building. Still could have destroyed the
network somehow going back to where they live, could have
found a way to block those satellites somehow and shown
us that all of these aliens live. Oh wait, no,
that's a different thing. But could have blown up the transmission,
(43:03):
which is again what they're trying to do in the
nineteen eighty seven Running Man.
Speaker 8 (43:07):
If you're going to bring up that they're suppressing us
in some way, don't have it that they're keeping the
information of the Rhode Island thing. They're keeping all information.
There's no means and have him destroy a transmitter that
allows them to unite and now a revolution can occur.
Speaker 7 (43:23):
Hooray, it's the cure for that. Disease from Johnny Mamonic
that they beam out at the end. We always have
to have the beaming of the truth out at the end,
whether it's that or how the reavers were made in serenity.
Something has to be let go at the end. But
instead they're just like, yeah, we all like Ben Richards,
even though they won't let us hear what his message is.
Speaker 8 (43:46):
Maybe it's like we sent it the beginning of this
MC a year ago, this wouldn't have seened, or this
would have seemed more dystopian, and maybe at the end
we would have been a little more lenient with this
ending had we known that just telling people the truth
doesn't do a fucking thing.
Speaker 7 (44:06):
It's like argue with people on the internet. Basically, thank
you so much, Father Malone for coming on and talk
to me about this. Had a great conversation. So where
can people find out more about you and the things
that you do.
Speaker 8 (44:19):
Come over to Midnight Viewing the Horror Anthology podcast on
twice a week Mondays. It's Father Malone's Weekly round Up Fridays.
It is a rotating show where we're either looking at
a series of movies or a horror anthology television series.
And that I do with mister Mike White here, so
come check us out.
Speaker 7 (44:35):
And as for me, everything that I do is available
over at Wordingweightmedia dot com as well. I just have
the one show that I put out the one time
a week, so I'm not nearly as ambitious as father.
Speaker 4 (44:44):
I'm alone here, teenage Mayor said, on the day I
(45:07):
saw my soul must be saved, gonna.
Speaker 9 (45:10):
Take a walk, man, you just square. You never know
where you're gonna find here.
Speaker 10 (45:16):
You gotta run, run, run, run right, take the jagger too, run, run, run,
run right, Jez you hey.
Speaker 6 (45:28):
What to do? Marguerite a passion.
Speaker 5 (45:40):
I had to get up fixed. She wasn't well. She's
getting said, went so soul. She wouldn't fight. Didn't know
I think she could fire, and she.
Speaker 1 (45:51):
Would run, run, run, run, run.
Speaker 5 (45:54):
Take the jagger too, run, run right right?
Speaker 6 (46:00):
Rid did to death for you?
Speaker 5 (46:03):
Say what to s sick?
Speaker 9 (46:58):
Sarah had a golden noise our their boot rap around
her toes when she turned.
Speaker 5 (47:04):
To oh Angel three.
Speaker 6 (47:07):
They didn't know.
Speaker 5 (47:09):
They couldn't make a see. You had a run, run, run, run,
rin take a dag.
Speaker 6 (47:14):
Or two.
Speaker 5 (47:17):
A run, run, run, run rids.
Speaker 6 (47:20):
The dad and you there were two bid, but Harry's wood.
Speaker 5 (48:24):
Away couldn't even get say.
Speaker 9 (48:28):
Small town take road the trolley down at forty seven
bigg and Jeep was good.
Speaker 5 (48:34):
You get us other heavy.
Speaker 9 (48:35):
Goud that our run ride, run ride rn Jago dagger too,
a run.
Speaker 4 (48:43):
Ride, ride and ride ride
Speaker 5 (48:45):
Jeems and that to you tell me what to do
Oh jez, folks, it's showtime. People say, good money to
see this movie.
Speaker 2 (00:10):
When they go out to a theater.
Speaker 3 (00:12):
They want clothed sodas, hot popcorn, and no monsters in
the protection booth.
Speaker 1 (00:17):
Everyone for ten podcasting isn't boring?
Speaker 4 (00:20):
Don at off.
Speaker 3 (00:38):
Ben Richards thirty five, married one child in medical crisis.
Speaker 5 (00:44):
We need money for a doctor now, Ben, dress up.
Speaker 3 (00:50):
Employment status blacklist. But there's still a way out for you.
It's the biggest show in the country.
Speaker 1 (01:02):
Is our birthright? Good Fred, Welcome to the running Man.
Speaker 6 (01:11):
People in these games never come back.
Speaker 7 (01:14):
I'm not trying to be myself killed, so kiss my
ass twice.
Speaker 3 (01:18):
Right. There is why you can win this game. The
rules are simple, survive thirty days. The entire nation hunting
me down. I don't get your family had a slumicide
for good.
Speaker 7 (01:34):
I'm going to come back here and burn this building down.
Speaker 3 (01:38):
I promise. That's the spirit.
Speaker 6 (01:41):
This is America, God damn it, and we don't put
up with no bulls.
Speaker 5 (01:46):
Yeah hunt.
Speaker 1 (01:52):
Hemn stop bling.
Speaker 7 (02:10):
Have you ever wondered if this game is rigged?
Speaker 1 (02:13):
I guess we'll find out.
Speaker 4 (02:20):
Should I be moving up to Fay Hey, buddy, you're
all free v.
Speaker 1 (02:31):
Yeah, you better run. I got a good name.
Speaker 2 (02:43):
Backcat h.
Speaker 1 (02:53):
I'm still here, just shiit eaters.
Speaker 6 (03:03):
Beg by.
Speaker 5 (03:09):
Which I'm crazy.
Speaker 7 (03:18):
Welcome to a special episode of the Projection Booth at
Midnight Viewing. I'm your host, Bike, whycho and me? Of
course is Father Alone?
Speaker 2 (03:25):
Oh hey, I'm running.
Speaker 7 (03:27):
He's definitely running. He's running in place this whole time.
If he sounds a little winded at the end of
the recording, now you.
Speaker 2 (03:32):
Know know why I got one of those standing discs.
Speaker 7 (03:36):
On this episode, we're going to be discussing Edgar Wrights's
The Running Man, the twenty twenty five adaptation of Stephen
King's dystopian thriller. We will be discussing Wright's kinetic style,
the film's political edge, and Glenn powell S Cinema's new
Everyman from a spectacle as entertainment to the eerie familiarity
of its media circus. We will be spoiling the film,
(03:58):
the book, and of course the nineteen eighty seven film
while we're at it. So fatherm Alone can't ask you
when was the first time you saw it? Because it
was probably this weekend. What did you think of The
Running Man?
Speaker 8 (04:10):
I'm a long time Stephen King person. Obviously, I read
the Bachman book when it came out, and I saw
the Schwarzenegger movie in the theater and I've seen it
a couple times since. Then saw this movie two days ago. Now,
as a fan of sort of the book, first, I
think this is a much more layered and true version
(04:33):
or adaptation of that novel, and much more just the
spirit of it, never mind the sort of plot and everything.
Speaker 2 (04:40):
And I think it was.
Speaker 8 (04:41):
Overall really enjoyable, and I thought, oh, this is a
step above the Schwarzenegger movie finally, because I was never
that big a fan of that movie. As an adaptation,
I liked this movie plenty, but I think the last
twenty minutes of this movie ruined the whole thing for me.
So I can't and if someone were to ask me,
(05:01):
would I recommend the movie. I probably wouldn't based on
the end, but I kind of liked it.
Speaker 7 (05:06):
That's about my take as well. I really like the
original Running Man from nineteen eighty seven. We talked about
it gosh all the way back in twenty seventeen. Simpler
times twenty.
Speaker 2 (05:19):
Seventeen, less dystopian. I don't know.
Speaker 7 (05:23):
If Edgar Wright was the right person to direct this,
just because I think he gets so caught up in
the neon slickness of things that the dystopia part really
takes a back seat. Sometimes. I've wanted this to be
set more in a Children of Men type of world
(05:44):
rather than everything seems to be pretty umpart with where
we're at today. It doesn't seem to be as desperate
as the book.
Speaker 8 (05:53):
To be fair, had this movie come out a year ago,
you would have felt this was a dystopian view of America.
Speaker 7 (05:58):
I think you're right, especially now with the whole idea.
And it's so funny that they even were doing this
back in eighty seven, the idea of deep fakes and
recasting things when it came to showing us how awful
Ben Richards is. Now it's just people make AI videos
of other people all the time and have them do
(06:19):
absolutely awful things. And so now you're watching this on television,
the television of twenty twenty five, The Running Man, and
you're like, yeah, I can see that. Of course, that's
probably not very difficult for them to do it all.
And there's one point where Richards even says, why didn't
you fake the whole thing? I guess we do find
out the answer about Richard's family that we don't know
(06:41):
in the book, and that the book that ending is
just it tears the heart out of you. It's amazingly
just dire. And the way that they have to double
back on that with this and suddenly becomes a conspiracy
theory type of thing. And my god, is somebody who
(07:01):
just saw Bugonia like two weeks ago. I'm like, can
we quit making conspiracy theorists the hero of these films
because it's not really a good thing.
Speaker 8 (07:11):
Last night I watched the first three episodes of Vince s.
Guigligan's new series Pluribus, and that's about an alien invasion,
but it's a viral thing. And early in the pilot
of the series, our lead characters looking up and she
sees contrails all through the night sky like patterns of them,
and she's like, wow, that's interesting, and that's how they're
spreading it. Had the same exact thought, Yeah, that's clever
(07:35):
and fun to confirm conspiracy theorists as correct. Nevertheless, stop
doing it, because apparently we're all doing it and we're
actually legitimizing it, so knock it off.
Speaker 7 (07:47):
I was a breakfast this morning, and there was a
guy sitting across for me that had a QAnon shirt on.
That's okay, you just wear your mental illness on your
shirt these days. I guess that's how we're doing it.
And when I watched these characters, like because they don't
go too into the QAnon or the conspiracy theory type thing.
And we're supposed to be all appreciative of these guys
(08:10):
who are making these like zines or basically YouTube videos
or maybe TikTok type videos. They're the ones who know
the truth and this is how they're trying to get
the truth out. It just feels so wrong in twenty
twenty five to see these videos where you're like, this
is what's really going on. I'm like, all right, whenever
anybody tries to tell you that, you know, they're just
(08:32):
one hundred percent full of shit.
Speaker 8 (08:35):
Yeah, And it's a lazy way to add a narrator nowadays,
to have the conspiracy nut that's it's the same as
the tabloid reporter or something the modern day equivalent. And
it's unnerving at best. As to that powerhouse ending from
the book, the one that you can't make into a film,
(08:56):
anymore since the year two thousand and one. It speaks
to the problem with both films, which is the book
is about a guy who gets onto a game show
because he is completely desperate because his daughter is ill
and he can't get work anywhere because he's basically been
blacklisted for one event that happened early in his life.
(09:16):
So he goes up against this sort of corporation that
is running everything. Like you said, they're controlling the narrative
with deep fakes and everything. And in the book, at
the end, he effectively crashes a plane into the network building,
potentially creating the spark that will ignite a rebellion against
the corporations that are oppressing everybody. That's the idea. The
(09:40):
movies want to have both stories playing out simultaneously. They
want the guy on the run with everyone against him,
and they want him to be sparking the revolution. It
ends with a spark, or don't include it, because they
want the fucking revolution to happen, and they like.
Speaker 2 (09:57):
Want a triumph.
Speaker 8 (09:58):
They want the government to come down and we are
suspending our disbelief so fucking hard already for this dystopian world,
and then to dismiss it away it's almost like a
fairy tale ending.
Speaker 2 (10:08):
Like both films, I.
Speaker 7 (10:10):
Kept seeing headlines about this movie going Edgar Rate's film
is great until it stumbles, and I'm like, oh boy,
where's the stumble going to happen? So I knew going
in that something bad was going to happen. And at
the same time, I don't necessarily believe headlines because it's
like what you consider a stumble in a movie. I
might consider the greatest twist of all times. Watching this,
(10:33):
I just can say, Okay, what's it going to be?
Speaker 2 (10:35):
What's going to be?
Speaker 7 (10:35):
When Michael Sarah shows up and he's playing this character
who in the book was basically had no discerning personality.
All he was was fat, And we know that Stephen
King does not like fat people. What's whatever? So just hey,
this guy's fat and his mom's crazy. As mom calls
the cops and they are on the run and getting
(10:58):
this big car wreck, and guy drives off as he's
like bleeding out and coughing up black blood and bile
and all this stuff, And I'm like, okay, is it
that Michael Sarah is again the conspiracy theorist and that
he's got the zine making stuff, and that he's got
all of these traps in his house. Is that the
(11:18):
twists that they're talking about, Because up until that point
it's a fairly good adaptation. It stays pretty true, and
even after that point they get back to it a
little bit more, and I was like, all right, Yeah,
this isn't too bad. What are they talking about? What's
the stumbling block? Because I just see so much of
this being such a good adaptation. Again, I would have
(11:40):
liked it to have been a little bit more dire.
We're selling tickets here, I understand if you're not going
to make this a gut punch every single way around.
But then I saw where the real twist came in,
and that was Lee Pace playing this mass killer and
not being Kevin Durant. Why was Kevin Durant? That was
(12:01):
the whole movie for me. It just got ruined at
that point.
Speaker 2 (12:04):
The moment that the movie veered.
Speaker 8 (12:07):
Literally off course is when he gets into the car
with Amelia or whatever her name is at the end.
As soon as that character opens her mouth, as soon
as it becomes a polemic about the halves and the
have nots, who fucking cares? At this point, you are
on the run. It was so clumsy and stumbling, whereas
everything seemed really fleet of foot and kind of economical.
(12:29):
Didn't notice time passing. Was actually interested in these characters,
was interested in the world they had created.
Speaker 2 (12:36):
And then in one.
Speaker 8 (12:37):
Scene it just completely dissembled it. And then it does.
It continues to stumble along like I can't believe how
far it falls when it gets there.
Speaker 7 (12:48):
When she showed up, I was like, oh, yeah, she
is in the story. I do remember her, but she's
no Maria kN cheetah Alonzo. I just was not following her.
I like the Maria and chidah Alonzo character a lot
because she is the what she writes the music for
the network, so she's like in that pocket. And then
(13:09):
she's got ooh, illegal music and illegal clothes and all
these things, contraband got this. They're all in a sense
at list and look what we have here.
Speaker 3 (13:22):
This looks like black market clothing.
Speaker 2 (13:25):
And she wrote the network.
Speaker 3 (13:26):
Jingle Come on, everybody does it.
Speaker 7 (13:30):
Okay, yeah, that's true. Everybody does do this. But eventually
you're gonna get punished for it, and you're gonna be
made an example of. I like her way better than
this other character. Make her more vapid because they get
what ten minutes with this character if that, and they
just she switches like nobody's business.
Speaker 2 (13:50):
It's oh my.
Speaker 7 (13:51):
God, I have this murder in my car to oh sure,
I'll help you out, and it's within it just a
few moments. I was like, that doesn't ring true at all.
And I know you can stretch it out longer in
a book, but it just does not ring true to me.
Speaker 8 (14:06):
Remember they live where rowdy Roddy Piper kidnaps Meg Foster
and he gets her from the parking lot all the
way to her house and she's playing along the entire
time before she clocks him with the bottle and he
goes out the window. That would be the mindset of
anyone being kidnapped by anyone, particularly a character who's basically
(14:27):
like she's a rich person. In this movie there are
haves and have nots, and she's basically poor people are
a piece of shit. And then he says three things
my daughter was sick, and she's like, oh my god,
my entire worldview is incorrect. I'm going to help you
win this game. What the fuck, Edgar?
Speaker 7 (14:45):
You see that scarf? That scarf costs more than my
daughter's welfare.
Speaker 8 (14:50):
What was that terrible Joel Schumacher movie with Matthew McConaughey.
It was like a John Grisham novel. It was like
a case where Samuel Jackson was on on trial and
Matthew McConaughey's big closing statement was and now imagine they
were white and the jury is like, oh my god,
we'll let this man free for wantonly killing these people.
Speaker 7 (15:12):
That the yes, I did, And I hope that burn
in Hell was that one.
Speaker 2 (15:16):
It's the one. Yeah, time to Kill is some name
of it.
Speaker 8 (15:21):
I'm so mad, and that the movie's so fresh in
my mind at that ending that it painted over a
lot that I liked about the movie, and I did
like a great portion of it, including Glenn Powell, who
it's the second time we've gotten a shot at Ben
Richards as a character, and the second time they've gotten
it completely wrong. As far as the guy's physique and outlook,
(15:42):
he's beaten, broken down, described as near tubercular. I read
the book again yesterday. He's as near tubercular, and here
we've got this another buff guy. But they leaned into
the anger portion of it, which I really liked and
accept it's one of these things where they did this
(16:02):
in the first film too. Now I thought this was
just a facet of eighties action movies where they needed
the hero to be an anti hero, like they had
to have break there, breaking out of prison or something like.
Speaker 2 (16:12):
There were so many characters, but of course, like the A.
Speaker 8 (16:15):
Team, they were all wrongly convicted, just like Ben Richard's
in the first film. So they repeat that here where
his temper has gotten him kicked off of jobs, but
it's because he's protecting the downtrod in every single time,
it's basically frame for a crime he didn't commit. Having
said that, I liked that in the moments where they
(16:37):
were displaying the anger, that's when Edgar Wright came alive
as a filmmaker and the film came alive. So for
some reason, anger in the first portion of this movie
really clicked with me.
Speaker 7 (16:50):
Howl was an interesting choice for me because I think
I've critiqued most schort Sen Maker films, especially when it
comes to something like a total recall as far as
what if a different person were playing this, What if
somebody who you wouldn't expect to look like a secret
agent was playing a secret agent, like Arnold. You look
(17:10):
at this guy and he's not human. He looks like
an uber human. He doesn't look like a regular just
John and Mary Jane walking down the street type of person.
And you get Powell and I'm like, Okay, that kind
of makes sense. Like I agree with you that he's
very jacked in this movie, and like where you're getting
all that protein from Buddy, like ye right.
Speaker 2 (17:32):
In dystopian land, my god.
Speaker 7 (17:34):
Maybe even swap out with Lee Pace or something who
looks a lot more normal than that. But yeah, it's
funny because Glenn Powell, I know, I've seen the guy
in probably a hundred things, but he just slides into
the background for me. He doesn't have anything that I
can latch onto, and I almost think that was a
(17:55):
good thing for this movie. There was one point, yes,
he goes into sky and he's got the businessman's suit,
the veteran suit, and the priest suit. And there was
one moment in the film where we see the what
was it called Running for Bucks or whatever the real
show was that they had, and Sean Hayes shows up
(18:16):
as a TV host on there, Gary Greenback's and they
use him for just that one scene. And while I
was watching it, I kept going, is that Glenn Powell
just in a different disguise? Like he looks so generic
that I was like, he could be anybody. But then
I was like, no, that's Sean Hayes. I can actually
recognize him. If not that sound mean, but if Glenn
(18:39):
Powell walked up to my house tomorrow, I'd have no
idea who this guy is.
Speaker 2 (18:44):
That is true?
Speaker 8 (18:45):
Can I just mention in the actual Running Man television
show that we get in this movie, during those early
sequences where they're introducing the runners to us, they do
one thing where they have each of their faces and
then a potential costume disguise generator that plays over their faces.
And I just thought that was brilliant because that's the
(19:07):
thing that I felt was really missing from the Schwarzeneger movie.
And by the way, like you said, when you look
at Swarzenegger, yes, of course it's going to be a
gladiatorial combat on live TV and not a cross country
on the run thing. In all the movies, you have
a group. In the movies and the book, you have
a dedicated group of hunters like government assassins chasing them down.
(19:29):
But what was missing in the first film, and what
really scared me in the book is that everyone's after you.
You are never safe, like literally anyone can look at
you and turn you in instantly, not to mention that
they're playing dirty pool the government themselves, but like that
sense of desperation never comes through in the Schwarzenegger movie,
(19:49):
not that they're going for it, but you get that
in a few scenes here, and I liked that.
Speaker 7 (19:54):
No, I like that as well. And I do like
this whole idea of you can't trust anyone at all
and that you might get turned in, even by somebody
who is pretending to be your friend. I really like that.
And I also I know one of my wife's complaints was, oh,
I would have liked to have seen the other contestants more,
and I was like, that actually fits more with the adaptation,
(20:17):
because again it's all from Richards's point of view, like
we really should not have any scenes that go outside
of what he knows. And that was one thing I
really liked about King's book was we only know what
Ben Richards knows, and there are times where he will
have dreams and he will dream about things or even
just like very vivid thoughts as far as they probably
(20:40):
figured out this and then they probably went here, and
then they probably went there. So when they break away
from Glenn Powell in this movie, like occasionally going to
the wayam H Macy character, I was glad. It felt
like that was inside of a dream. So it wasn't
again going away from Ben Richards and it wasn't just
here's what else is going on. Here's Killy and talking
(21:03):
about this, and here's this other TV host, and here's
what happened with these characters after Ben left them. I
like that we stay with Ben the entire time, and
that when he sees the fates of his fellow contestants,
it's us seeing it at the same time, and it's
us watching it on television at the same time he's
watching it on free TV, I should say free V.
Speaker 8 (21:27):
It's a clever conceit that we can continue to jump
outside our lead character's perspective because the rest of it
is supposed to be on television anyway. And one thing
that I've really liked that Edgar Wright added were the
little drone cameras like little vultures, Like you see them coming,
then you know the actual live team is there, so
you're fucked. Basically, it's a nice way to ratchet up panic.
(21:50):
It's like seeing the barrels pop up in Jaws.
Speaker 7 (21:54):
Again, we've got the conspiracy theory about the DNA sniffers
and that we actually do get to see those being
used in the way that the drones are being deployed.
But again, like we get to that the woman that
he kidnaps, and they can generate the AI image of
her screaming out the car like immediately, and I'm like,
(22:17):
all right, that's kind of weird. And also that she
doesn't freak out about it and go, oh my god,
I didn't do that. I'm not on TV right now
because just like everybody else in the world, she's watching
that weird Americanos show. So you'd think that she so
bought into what the network selling her that it would
be a major departure for her to ever think that
(22:39):
she could be lied to by the free v.
Speaker 8 (22:43):
Yeah, you would think that would be the moment that
would turn her mind, and not the fact that her
scarf cost enough to feed a bunch of children.
Speaker 7 (22:49):
And the thing with the way h Macy character Molly
that he had the uniform ready for Ben and it
was one of these. If only you had come by earlier,
we could have been partners. I'm like, yeah, that was
made up whole cloth, that wasn't part of the book,
and that was definitely a little like, oh look at
the irony here. Let me stab you in the side
(23:10):
with the irony pencil.
Speaker 8 (23:12):
I felt the same way. I thought, oh, you prick Edgar.
This is bad enough for Ben. Why did you do
that to him as well?
Speaker 7 (23:19):
I was glad though Edgar Wright seemed to stay his
hand pretty well. We got a couple needle drops. That's
what I'm expecting when I see one of his films,
But it actually felt fairly well put together and not
nearly as sentimental as some of his other things.
Speaker 8 (23:35):
Way less sentimental, and could have been the most sentimental.
Given the sick child subplot. I thought he handled that
with a plumb. I think this is his most restrained
film because he allowed himself to let the Edgar writ
aspect of his filmmaking out during the Running Man. Television
portions of it like so many cutaways to people having
(23:56):
their heads blown off.
Speaker 7 (23:58):
Yeah, which is funny because just having The Long Walk
on my television a couple of nights ago, I'm just
like headshots galore, and then we're back here and I'm like, Okay,
more head shots, all right, hing as Bachman feels like
he was the angriest of all time between those two
stories and then Rage and roadwork, And it's funny how
(24:22):
close the Long Walk and Running Man really are as
far as the dystopian future story where they have these
quote unquote game shows to keep people in line. King
must have just been just a font of rage at
the time that he was writing these that.
Speaker 8 (24:38):
This was written in one week, a snowbound week, and
his double winde trailer on break from his teaching job,
with his wife and child trapped in that trailer, and
most of the Bachman books I think were written in
this near fugue state of young desperation and anger at
his station in life, and those really and it's that
(25:02):
part of the writing that sends them apart. And I
think if some loser hadn't tried to blackmail King by
uncovering Bachman, I think Bachman could have continued to have
a healthy career, allowing King to burn off that bit
of anger and steam.
Speaker 7 (25:17):
Missed the Bachman of old. Because when I read those books,
and when I read thinner. I was just like, wow,
this is amazing those four things in the Bachmann books.
I mean, they can't even publish Rage anymore, is from
what I understand. And then did they come back and
try to write like another Bachmann book?
Speaker 8 (25:36):
He did when he was writing Desperation, he rethought about
the whole thing, like the same characters in a different
configuration and a much meaner configuration, and thought Richard Bachman
would have written that.
Speaker 2 (25:48):
So that's the last Bachmann book.
Speaker 8 (25:50):
It's not as good as the early stuff, obviously, because
it's too measured and it's too thoughtful, and the early
Bachman books do feel like they were written in a week.
He can't get the fucking words out of his fingers
onto the typewriter carousel fast enough.
Speaker 7 (26:05):
I love the use of the forty nine in counting,
like the countdown through the entire book for each chapter
that you have, and you're just like, fuck, what's going
to happen when it hit zero?
Speaker 8 (26:18):
I thought that was going to get old, And it's
like almost halfway through, I'm like, oh no, watching the
numbers slowly click.
Speaker 7 (26:24):
They still don't do a great job when it comes
to telling you how many days have passed, and you
would think that they would have done that every new
day there would have been the title on screen, because
they do a pretty good job with that machine that's
on his arm to say, Okay, you just got this
much bonus money, here's the new day. You have this
many hours until you have to start submitting your tapes
(26:46):
and all those things. But after a while, I was
just like, you're on day thirteen. How did that happen?
When did that take place?
Speaker 2 (26:54):
Yeah, that was quite a leap there.
Speaker 8 (26:57):
The Michael Sarah character when he pumps up, I actually
really liked that character because that was the character who
it's in the book. It's his mom freaks out and
calls the police, and here's actually Michael Sarah because he's
so delighted because he wants to take on the police.
I thought that was really funny, and the entire contraption house,
I know, it was very Edgar right and very not
(27:18):
the book. Nevertheless, like I thought it was in keeping
with the action up until that point.
Speaker 7 (27:24):
Once it happened, I had no problem with it. And
I liked Michael Sarah and I liked him so much
more in this than I did Scott Pilgrim, where I
wish I could have shot him.
Speaker 2 (27:32):
In the head.
Speaker 8 (27:33):
Scott Pilgrim is a prick of a character. This kid
is just a freak you mentioned earlier, like the DNA sniffers,
And they make a point to show that they're actually
tracking him through the mail when they claim they're not
going to do that. So the character in the book,
in the movie, he has to send in videotapes of
himself every single day. It's basically, so you don't get
on a boat and go out in the middle of
(27:54):
the ocean for thirty days and come back. You have
to stay in the United States and you have to
stay on the ground and in cities or close enough civilization.
They claim they're not going to track you. That's how
they're tracking him. And then they mentioned DNA snippers and
we see one come out. Here's the thing. They didn't
just put a fucking subcutaneous GPS tracker into him. They
think of so many cool and clever innovations with technology,
(28:16):
and yet the most basic one that my fucking dog
has right now.
Speaker 2 (28:19):
Nobody thought of that when they were writing the screenplay.
Speaker 7 (28:22):
And then how he keeps talking about, oh yeah, there's
a bomb shelter and you're going to go in this
bomb shelter. I guess they do explain away the whole
pre record all the tapes kind of thing, but at
the same time, I'm like, okay, yeah, like I need
a little bit more of that. I do appreciate in
the book this whole like, you're going to drop these
tapes and they're going to be sent to the guy
in Brooklyn, and then he's going to mail this stuff out.
(28:44):
And then at one point when he meets the character
who's basically the Michael Sarah character, is no more sending
those tapes there. You're going to send them to Cleveland
and what happened to the guy from Brooklyn? And it's like,
we're not going to talk about that. So you're just
like again and a fantasy a sequence where they're torturing
that poor kid, and you're like, Okay, that probably is
(29:08):
what happened. Again, we don't know because we can't know
outside of what Ben Richard snows.
Speaker 2 (29:14):
God damn, Mike, this movie was so good for so long.
Speaker 7 (29:17):
It was just takes us a weird turn and yeah,
just goes so far the other way. So are we
to believe then that his wife sorry total spoiler territory.
His wife ends up getting the money.
Speaker 2 (29:34):
Is that right?
Speaker 7 (29:34):
Because she's shopping at what looks like a very nice
shopping place, not scrounging for food, not selling herself, which
is like they make a big deal in the movie
to be like, no, I don't even let these guys
touch my ass, whereas in the book it's just oh, yeah,
she's turned her tricks to make money to buy that
kid medicine.
Speaker 8 (29:54):
Yeah, it's up the urgency of joining the running man
in the book. Here it's like she's doing double shit,
set the club just to endure these leering men and
come on, yeah, either go for it or don't. And yes,
the thing is he is winning money along the way,
like he wins money per day, so it's an accumulation
(30:14):
and then he gets a sort of a big prize
at the end, and everyone he kills along the way
he tries to stop him, he gets a bonus for
including the hunters, even if he doesn't kill them. So
I assume that money is funneled directly to her, like
they claim that they went and pulled her out and
brought her into witness protection immediately, So I assume if
she's actually still alive, which, by the way, was a
huge mistake because I know that they said it in
(30:36):
the book and they didn't really deal with it at
all in the Schwartzenegger movie here. But when Killian played
by Josh Brolin here says, oh, sorry to break it
to you, I was like, oh, man, they did it.
They killed his family, and they should have justified the
rollicking sort of fun we've been having for a little while.
(30:57):
Maybe papered over the horrible text. Some text is text
conversation in the car on the way to the plane
with that thing, but it just ends up we want
a crowd pleaser at the end.
Speaker 7 (31:11):
I don't know, man, Yeah, I thought it was as
made up as the three previous winners of The Running Man, Whitman, Price,
and Hadad. That was always my favorite thing from the
eighty seven film was this whole Oh yeah, look at
these guys. They're down in sunny Florida out in Hawaii
and they're drinking drinks with funny umbrellas in them and everything,
(31:34):
and then they find their skeleton. So I was just like, yeah,
I don't believe at all that they were going to
give her any money. So when she shows up at
the end, it seems like she's living on Easy Street.
I'm like, really, And then they have that whole thing
of almost like a walled city. It's almost a little
Land of the Dead esque where they've got the nicer
city outside of the rest of the city. Here's where
(31:56):
the slum people live, and then here's uptown basically, and
it takes a lot to get into uptown. And I
guess apparently all you have to say is that you're
trying out for the game. So he gets into the
uptown and I'm guessing that's where the wife is. But
then that there's graffiti behind him that says Richard's lives.
I'm like, okay, yeah, that's a great way to reintroduce
the character back to the narrative. But I don't think
(32:19):
that's going to happen in the nice part of town.
I can see that being the rallying cry and the
thing that is all over the slums.
Speaker 8 (32:27):
If it were more like Land of the Dead, the
original script for Land of the Dead, where there was
no wall, there's no separation. You can't have the revolution
if you can't get at the oppressors. And he takes
pains to show us how separated. This city is again.
I know, I just keep saying the same shit, man,
But you can't show us the entire revolution at the
(32:48):
end of this movie. You could potentially show the people
are starting to fucking wake up and revolt, but he
fucking walks through fire at the end of this movie
to just dispatch Killian, the.
Speaker 2 (32:58):
Head of the network. What planet have we jumped on
to it? I don't know. Did you stay to the end?
Speaker 8 (33:04):
Was there a post credit scene where Richards wakes up
and this last portion was a dream and he's still
in Michael Sarah's house and then they kill him.
Speaker 7 (33:12):
I did actually stay till the very end of the
credits because I was amazed. Now this is going to
be a weird thing to say, but I was amazed
that they allowed them to do unstandard credits through the
entire end credits scene. I thought for sure as soon
as the outro song ended that they would switch from
the zine credits that they were doing to regular scrolling credits,
(33:34):
because I was like, these are flashing by so fast,
I cannot read anything things, And I thought that was
part of the rule of Hollywood. It was like, Okay,
you can do your funny credits. You can do your
outro to all the Spider Man movies and these kind
of things, but at some point we're going to end
that first song. We're we're going to come back with
(33:54):
the second song, and that's where we have to have
the real credits start. So I was just shocked that
we went through the whole darn thing with those zene credits.
Speaker 8 (34:03):
I think that the rule is that it has to
be on screen for a certain length and that's it. Like,
how you presented is entirely up to you, as long
as you can prove it was there.
Speaker 7 (34:11):
It was like three seconds for some of those. And
I'm trying to read the cast list, I'm like, who
was playing the Oh, okay, it's gone, Like who is
the guy who I just see flashes of in some
of the trailers? I'm like, was that is there any
way that there? That was Simon Peg or is this
somebody else? It was somebody else? It was that little guy.
(34:32):
He ends up not murdering him, and he comes back
towards the end.
Speaker 2 (34:36):
Oh, the blonde guy with the blond guy smoking guy.
Speaker 7 (34:39):
Yeah, he ends up. I know for sure he's not
there at the very end, but he doesn't murder him
in cold blood.
Speaker 2 (34:46):
Yeah, because he's a decent start at this anti hero.
Speaker 7 (34:50):
I can't see the hero of King's work actually sparing
his life. I could just see him just putting a
bullet between his eyes.
Speaker 8 (34:58):
That man has tried to murder him multiple time, had
tried to murder him moments ago, had bragged that he
was going to cut his achilles tendon and then drag
him out and then execute him. On television. He can go, you're.
Speaker 7 (35:10):
Free to leave, sir. You might have a limp now
because I cut your achilles tendon. But yeah, well that
was turnabout.
Speaker 2 (35:16):
I like that though.
Speaker 7 (35:17):
It's very funny that we end up in Derry, Maine.
At one point thought that was pretty nice. I kept
waiting for Pennywise to pop out and be one of
the hunters as well, but that didn't happen.
Speaker 2 (35:30):
You know what's funny.
Speaker 8 (35:31):
I saw the movie Friday and noticed that they were
going to the Dairy Airport on the little GPS thing
and thought, oh, that's clever. I'm glad they added that.
And then when I re read the book, I was like, no,
they were going to Dairy anyway.
Speaker 7 (35:42):
Sure enough, Yeah, if it was the Lengelers. It would
have been the bangor Airport.
Speaker 8 (35:47):
Future Boston looks a lot like Czechoslovakia, but.
Speaker 7 (35:53):
I think it was Bulgaria. I think yeah, because we
kept seeing all of the Slavic names and the credits,
and my wife was like, where they shoot this Ukraine.
I was like, I don't think they're shooting anything in
Ukraine except for people. Right now, let's move past that
and we'll see where it actually was shot. And yeah, Bulgaria.
Speaker 8 (36:09):
Yeah, I didn't remember the streets looking quite like that,
and I'm happy to be away if that's what it's
gonna look like. However, my currency, Las Vegas is looking
fucking spectacular in the futures. I liked all the cutaways.
I want to watch an episode of The Running Man,
to be honest, I hope they give us one of
those as an extra or something, because that'd be pretty good.
Edgar Wright started on television and a lot of his
(36:29):
televisions was really good, so his television instincts are fantastic.
I want to see a full episode of The Running.
Speaker 7 (36:35):
Man in the meantime. I don't know if you've ever
seen Series seven The Contenders, but that's another great people
Hunting People movie, and it was right at the beginning
of reality television, and they shot this whole thing like
reality TV. It is so good.
Speaker 2 (36:50):
Yeah, I love that movie.
Speaker 8 (36:52):
Battle Royale came in around the same time and everything
became reality after that, and everyone kept talking about the
Running Man, that.
Speaker 7 (36:59):
Whole thing with the Americas. I was hoping that would
have been a better show within the show type of thing.
Instead it was just so Kardashian, and I was like,
this could have been more biting satire. They really could
have had more with this, and they didn't go for it.
Speaker 8 (37:15):
Given where we are, it could have been the royal family,
it could have been the presidential family is just as
a reality show. That's how ridiculous everything has become instead
of socialites.
Speaker 7 (37:28):
That was the one thing I really liked about the
eighty seven movie is when Killian is get me the
President's agent on the phone, this whole idea of everything
is just play acting, which is so what it is
today and just what's going to make the best SoundBite.
Those kind of things. Kind of wish that they had
leaned into that a little bit more as well, because
(37:49):
they don't really talk about too many of the political things.
That are going on in the world.
Speaker 2 (37:55):
Here.
Speaker 8 (37:56):
At a certain point he comes across a family who
it's the Boss sequence actually, where they end up smuggling
him to Manchester, but they have a younger sister who
is dying of cancer. That's a huge portion of the book.
It sends Ben Richards off on this fact finding mission.
The book in the movie takes place in twenty twenty five,
but the government stopped releasing information about pollution in two
(38:17):
thousand and three. Everyone has these scrubbers they wear in
their noses. Rich people have them and poor people don't.
Everyone has cancer, and he spends a good portion of
the book preaching about the perils of pollution. None of
that plays here.
Speaker 2 (38:33):
Some of it.
Speaker 8 (38:33):
We get the little girl who's sick and has cancer,
and we have some lip serves to it. But why
bring that up if you're not going to bring the
other part up?
Speaker 2 (38:40):
I don't know.
Speaker 8 (38:41):
It just makes me admire the fucking Schwarzenegger movie and
that it jennisoned everything and just went here's what they
were talking about, game show and revolution.
Speaker 7 (38:50):
Yeah, instead to say, oh, my sister has cancer. Because
there was a nuclear disaster Rhode Island that nobody talks about.
I was like, no, I think it's much more hard
hitting that everybody in the world is basically dying of
lung cancer, emphysema, horrible asthma. He asked them, do you
(39:12):
have asthma? He said, well, yeah, yeah, actually I do
have a little bit of asthma. What about this person?
That part is, Oh, yeah, so many people I know
have asthma. And yeah, those nose filters become this major
thing and how expensive those are. But then you know,
the guy and his friends ended up going to the
library and they built them. I love that whole thing.
How they have one suit and they rotate the suit
(39:32):
through them and they all go to the library and
read stuff. That's the underground is going to the library,
which I found to be wonderful. And yeah, instead of
being like an environmental message in twenty twenty five in
a mainstream movie about how the quality of the air sucks,
instead we're going to be like, no, it was this
(39:52):
isolated incident in Rhode Island that was really just ballless.
Speaker 2 (39:58):
Yeah, just don't even bring it up.
Speaker 8 (40:00):
Just don't mint don't write the fucking daughter character into
the story. I'm not the daughter, but I'm talking about
the younger sister who has the cancer that brings up
this conversation. Just as easy to leave her out, don't
even go home with those two guys, just have them
immediately get on the road.
Speaker 7 (40:16):
Yeah, that felt very easy, the way that he made
friends with them. And I'd like that whole idea too,
of how the character is really putting on an act
as far as again, Stephen King this kind of shucking
and driving thing that he does for a lot of
black characters, but then he can just turn it off
in an instant and become much more erudite and just
(40:38):
basically that's for the kids, that's for the people on
the street. This is who I really am.
Speaker 8 (40:44):
That's not a lot, doesn't he doesn't It remind you
of Robin Williams and every black character he ever performed.
Speaker 2 (40:50):
A Yo, blah, what's going so?
Speaker 3 (40:52):
Man?
Speaker 7 (40:53):
He gotta make you shit in your boot it eat it? Yeah, Yeah,
I was glad that didn't come up ten times like
it does in the book.
Speaker 8 (41:00):
Yeah, that's the other the King ism, Like he finds
a phrase and he repeats it into the fucking ground.
Speaker 2 (41:05):
Los.
Speaker 7 (41:06):
Yes, I think I agree with you. I don't think
I would necessarily recommend this to other people to check out,
unless they just redid the ending to make it the
true ending in the book. I hate to be such
a purist, but that ending hits a lot harder than
this bullshit that they ended up giving us.
Speaker 8 (41:25):
A good ending is an inevitable ending. The inevitable ending
of this story that they're trying to tell based on
that book is Ben Richards killing himself and taking the
network with him. Obviously, we don't want our hero flying
a plane into a building as an act of heroism. Nevertheless,
there are other ways he could have done it besides
(41:48):
striding in like a fucking Marlborough man and the last
scene based on nothing at all and smacking around our villain.
I couldn't believe the fucking end of this movie, man.
Speaker 7 (41:58):
I thought for sure, since they set us up with
that shot of that explosive, the black Irish that does
come back in the movie later on with the whole Oh,
I've got all this explosives in this purse and I'm
gonna blow up the whole place. And of wish that
maybe he actually had grabbed some of that black Irish
(42:19):
or was able to get back to Molly's place at
some time, maybe Molly didn't get caught or I don't
know how it would have worked, but something better to
bring that back in a better way, because yeah, he
doesn't have to fly a plane into the building. Still
would have been pretty cool. And as soon as I
saw that stuff in the trailer, I was like, good,
we're finally going to get the ending that the Running
(42:41):
Man deserves, only to have the rug ripped out from
under us. And to your point, yeah, he still could
have blown up that building. Still could have destroyed the
network somehow going back to where they live, could have
found a way to block those satellites somehow and shown
us that all of these aliens live. Oh wait, no,
that's a different thing. But could have blown up the transmission,
(43:03):
which is again what they're trying to do in the
nineteen eighty seven Running Man.
Speaker 8 (43:07):
If you're going to bring up that they're suppressing us
in some way, don't have it that they're keeping the
information of the Rhode Island thing. They're keeping all information.
There's no means and have him destroy a transmitter that
allows them to unite and now a revolution can occur.
Speaker 7 (43:23):
Hooray, it's the cure for that. Disease from Johnny Mamonic
that they beam out at the end. We always have
to have the beaming of the truth out at the end,
whether it's that or how the reavers were made in serenity.
Something has to be let go at the end. But
instead they're just like, yeah, we all like Ben Richards,
even though they won't let us hear what his message is.
Speaker 8 (43:46):
Maybe it's like we sent it the beginning of this
MC a year ago, this wouldn't have seened, or this
would have seemed more dystopian, and maybe at the end
we would have been a little more lenient with this
ending had we known that just telling people the truth
doesn't do a fucking thing.
Speaker 7 (44:06):
It's like argue with people on the internet. Basically, thank
you so much, Father Malone for coming on and talk
to me about this. Had a great conversation. So where
can people find out more about you and the things
that you do.
Speaker 8 (44:19):
Come over to Midnight Viewing the Horror Anthology podcast on
twice a week Mondays. It's Father Malone's Weekly round Up Fridays.
It is a rotating show where we're either looking at
a series of movies or a horror anthology television series.
And that I do with mister Mike White here, so
come check us out.
Speaker 7 (44:35):
And as for me, everything that I do is available
over at Wordingweightmedia dot com as well. I just have
the one show that I put out the one time
a week, so I'm not nearly as ambitious as father.
Speaker 4 (44:44):
I'm alone here, teenage Mayor said, on the day I
(45:07):
saw my soul must be saved, gonna.
Speaker 9 (45:10):
Take a walk, man, you just square. You never know
where you're gonna find here.
Speaker 10 (45:16):
You gotta run, run, run, run right, take the jagger too, run, run, run,
run right, Jez you hey.
Speaker 6 (45:28):
What to do? Marguerite a passion.
Speaker 5 (45:40):
I had to get up fixed. She wasn't well. She's
getting said, went so soul. She wouldn't fight. Didn't know
I think she could fire, and she.
Speaker 1 (45:51):
Would run, run, run, run, run.
Speaker 5 (45:54):
Take the jagger too, run, run right right?
Speaker 6 (46:00):
Rid did to death for you?
Speaker 5 (46:03):
Say what to s sick?
Speaker 9 (46:58):
Sarah had a golden noise our their boot rap around
her toes when she turned.
Speaker 5 (47:04):
To oh Angel three.
Speaker 6 (47:07):
They didn't know.
Speaker 5 (47:09):
They couldn't make a see. You had a run, run, run, run,
rin take a dag.
Speaker 6 (47:14):
Or two.
Speaker 5 (47:17):
A run, run, run, run rids.
Speaker 6 (47:20):
The dad and you there were two bid, but Harry's wood.
Speaker 5 (48:24):
Away couldn't even get say.
Speaker 9 (48:28):
Small town take road the trolley down at forty seven
bigg and Jeep was good.
Speaker 5 (48:34):
You get us other heavy.
Speaker 9 (48:35):
Goud that our run ride, run ride rn Jago dagger too,
a run.
Speaker 4 (48:43):
Ride, ride and ride ride
Speaker 5 (48:45):
Jeems and that to you tell me what to do
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