prundlaps

I approached The Running Man (2025) with the anticipation of a thrilling dystopian chasing film. However, what I received was nothing more than two hours of a disheartening privation related to cardio movie running in circles.

This does absolutely no justice to the Arnold movie. The original Running Man knew exactly what it was: loud, ridiculous, quotable, and unapologetically fun. It had charisma, absurd villains, over-the-top violence, and Arnold delivering one-liners like he was legally required to. The 2025 version strips all of that away and replaces it with gray lighting, self-serious speeches, and the personality of a loading screen.

While the Arnold movie fully embraced satire and spectacle, this one feels ashamed to offer any kind of entertainment. It neglects to recognize that The Running Man was not just about running but was also about style, attitude, and having fun watching chaos unfold. The remake gives the impression of having seen the original once, completely missing the point, and concluding that the real issue was that it was not boring enough.

In a visual sense, it is nothing but gray concrete, neon displays, and fog, since dystopia seems to have reduced its palette to these three colors only. The background music beats without rest, as if by increasing the volume of the music you would forget that the whole thing is not worth remembering.

In an attempt to be contemporary and "profound," it becomes eventually nothing. There are no charismas, no bad guys who are worth remembering, no catchy lines at all just a reminder that every now and then, a film needs nothing but over-the-top, cheesy, and confident.

Compared to Arnold's version, this feels less like a tribute and more like an apology.

When the credits finished rolling, I was not excited, surprised, or amused. I was just exhausted. Not in a "what a ride" way but rather in a "why did this movie seem longer than an actual marathon" way.

Final verdict: The Running Man (2025) is not a racing event of few seconds, nor a long-distance running marathon, or even a walking pace it is a treadmill with the setting of "useless." You put in so much work with no gain and at the end, you come down with a question in your mind about the reason for your stepping up there in the first place.

Dracula (2013) reimagines Bram Stoker's iconic vampire as a tormented antihero posing as an American entrepreneur in Victorian London. This version of Dracula blends revenge, romance, and steampunk science into a gothic political thriller.

The series stands out visually its lavish costumes, atmospheric sets, and moody cinematography create a world that feels rich and immersive. The central storyline, which pits Dracula against a corrupt secret society, adds an intriguing layer of complexity to the classic tale.

However, while the premise is bold, the show often struggles to balance its many themes science vs. Superstition, love vs. Vengeance, identity vs. Secrecy. The pacing is uneven, and some supporting characters lack depth. Still, the ambition is admirable, and there are moments of genuine intensity and emotion throughout its single season.

Cancelled after just 10 episodes, Dracula ends before it fully realizes its potential, but it's an interesting and stylish twist on the legend for fans of dark romance and gothic intrigue.

Elementary offers a modern and refreshingly grounded take on Sherlock Holmes, moving the legendary detective to present day New York and pairing him with a gender-swapped Watson. Jonny Lee Miller delivers a brilliantly nuanced performance as Holmes intellectually fierce, emotionally guarded, and battling addiction while Lucy Liu brings calm strength and depth as Joan Watson, evolving from sober companion to equal partner.

Rather than simply modernizing Conan Doyle's stories, Elementary builds its own rich mythology. Its cases of the week are consistently clever, but it's the slow-burn character development and emotional growth between Holmes and Watson that elevate the show beyond typical procedural fare.

The series also boasts one of the best versions of Moriarty in television history, and introduces a host of compelling side characters over its seven seasons. With stylish writing, sharp dialogue, and a strong emotional core, Elementary proves that reinvention can work if done with intelligence and heart.

Whether you're a Sherlock Holmes purist or new to the detective's world, Elementary is a smart, satisfying ride that stands on its own.