The Running Man (1987)

(In French, On TV, March 2019) As a former but unrepentant Science Fiction critic, I know better than anyone else that we’re not supposed to grade SF films of past decades on a prescience scorecard where more points are accumulated for accurate predictions. This goes double for dystopias, as we’re perhaps more sensitive to the bad things than the good ones. Still, it’s really hard to resist the impulse when it comes to The Running Man, considering the richness of its vision. Adapted very loosely from the Richard Bachman/Stephen King novel (notably softening the ending but frankly just taking the name of the characters and the rough premise), it ends up being an over-the-top Arnold Schwarzenegger film set in the near future. (To underscore the difference from contemporary films, Schwarzenegger sports a rather cool goatee and otherwise delivers a film that fits well in his classic streak of action films.)  The bare bones of the plot have to do with a totalitarian USA using a TV Show to kill its dissidents, but the execution (once past the setup) is repetitive, with the protagonist dispatching one opponent after another using one-liners, steadily making his way back to the TV show host. The action is bloody and choppy, reinforced by cinematography that’s pitch-dark to the point of exasperation. A few wrestlers—and future co-Governor Jesse Ventura!—make up the opponents, with the romantic interest played by the beautiful but underused Maria Conchita Alonso. (The producers make sure they get their money’s worth by having her character exercise in lingerie.)  The film is limited by 1980s technology in its presentation (such as the early cheap-looking CGI opening credits) but does prove disturbingly prescient in its satirical dystopia, anticipating the 2001–2019 slide of America into cheerful authoritarianism, airport checkpoints, entertainment/capitalism synergy … and reality TV. Also notable without being so flashy is solid-state video. So, while there’s no real point in grading The Running Man for accurate predictions, it’s the kind of additional material that does help the film distinguish itself from many far more generic action films of the 1980s. It has some kind of verve in spitting out groan-worthy one-liners and work its way up to a big spectacle of a conclusion. Not necessarily my go-to-choice for films of the era, but somewhat better than I expected.