Good news, Edgar Wright fans: The Running Man is a speedy shot of dystopian action with campy charm to spare - and a surprising amount on its mind. Yep, this is what you’d call a great time at the movies. There’s plenty to appreciate here, most notably the dynamic action set pieces. Wright continues to have a way of making everything look, sound, and feel invigorating - a true master of moving the camera in perfect sync with the soundtrack and actors. The results are, quite literally, explosive. But this isn’t the type of action flick where you leave your brain at the door. Nope, there’s much more under the surface in terms of a timely social commentary. The themes of this near-future America - from the crushing cost of living to media manipulation to the exploitation of people - all feel very relevant. Still, the film never becomes a lecture. Wright rightly peppers the story with self-aware humor and clever winks at the audience, which only makes the whole ride more enjoyable. We’re very much in on the parallels and spoofs. Speaking of being all in, I certainly was - and I suspect you will be too - when it comes to our leading man, Glen Powell. It’s another effortlessly charming performance, with Powell embodying the perfect mix of good-souled desperation and movie-star magnetism. Trust me, you can’t help but root for this guy. There are definite Tom Cruise vibes here (and not just because of the running shots). Powell isn’t the only standout though. Josh Brolin sinks his teeth into a wonderfully slimy producer you can’t wait to see get his comeuppance, and Coleman Domingo makes his flamboyant, charismatic host into one of the film’s most memorable presences. And while the movie admittedly does start to overstay its welcome some in the third act (did we really need the whole Michael Cera / crazed mom / booby-trapped house sequence?), it still wraps things up on a satisfying note. And if we’re comparing this to Arnold’s 1987 film, well… this update runs away with the win by a mile.