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    Movie Review

    Sandra Bullock and Channing Tatum navigate a comedic jungle in The Lost City

    Alex Bentley
    Mar 24, 2022 | 11:20 am
    Channing Tatum and Sandra Bullock in The Lost City.play icon
    Channing Tatum and Sandra Bullock in The Lost City.
    Photo courtesy of Paramount Pictures

    Although it was easy to miss while it was happening, it’s clear now that Sandra Bullock has been slowly but surely pulling away from acting. Bullock, who was pretty much good for at least one movie every year between 1992 and 2009, has been spacing out her appearances in the 2010s while she raised her kids. Now, she’s announced that The Lost City will be her final starring role for a good while so she can spend more time with her family.

    On the surface, the film fits right in with the rest of her filmography, which has featured mostly broadly appealing movies. Bullock stars as romance author Loretta Sage, who has grown tired of writing her series about Dash McMahon, especially since people have become much more interested in the cover model hired to depict the hunk, Alan Caprison (Channing Tatum), than her.

    That is, everybody except Abigail Fairfax (Daniel Radcliffe), a billionaire who believes that Loretta and her late archaeologist husband discovered the location of a lost city in their research. Fairfax kidnaps her and takes her to a remote island in the Atlantic Ocean. It’s up to Alan, Loretta’s agent Beth (Da’Vine Joy Randolph), and a very famous movie star in an extended cameo to rescue Loretta.

    Written and directed by the brother team of Aaron and Adam Nee, with help from co-writers Oren Uziel and Dana Fox, the film is very much a tale of two halves. During the set-up half of the film, laughs and even a bit of emotion come easily as the characters and the ridiculous plot are established. The first half also includes a hilarious turn by that very famous movie star — Brad Pitt — as an expert in pulling off high-stakes rescues.

    Unfortunately, the second half of the film fails to live up to the first as the filmmakers go down a series of rabbit holes that are neither funny nor thrilling. The premise of the film is supposed to put Loretta and Alan at odds at all times, but they wind up being equally clueless, defusing any narrative tension. Anyone hoping for an updated version of Romancing the Stone will be disappointed, as the romantic angle between the two of them doesn’t work either.

    The film also does a pretty bad job at making its location in an island jungle believable. Using what appears to be a combination of sets on a back lot and CGI, most of the film looks and feels fake. Even the scenes where it’s clear they’re actually outside have a veneer of falsity. It’s not a surprise they went that direction in the time of comic book movies, but the lack of effort into making the scenes feel like they’re in a real location is disappointing.

    Both Bullock and Tatum are game for whatever the filmmakers throw their way, but each of them has been much funnier elsewhere in their careers. Bullock maintains the relatable appeal that she’s had in most of her movies, but she can’t quite put the story over the top. Tatum pokes fun at the idea that he’s just known for his physique, but his performance still winds up being one-note.

    The Lost City is a middling adventure comedy that could’ve used a lot more of both genres. If this is to be Bullock’s last starring role for a while (she has a small role in the upcoming Bullet Train), it’s too bad it had to be in a film that doesn’t live up to its — or her — potential.

    ---

    The Lost City opens in theaters on March 25.

    Channing Tatum and Sandra Bullock in The Lost City.

    Channing Tatum and Sandra Bullock in The Lost City
    Photo courtesy of Paramount Pictures
    Channing Tatum and Sandra Bullock in The Lost City.
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    Movie Review

    Glen Powell stumbles in remake of  sci-fi classic The Running Man

    Alex Bentley
    Nov 14, 2025 | 12:30 pm
    Glen Powell in The Running Man
    Photo courtesy of Paramount Pictures
    Glen Powell in The Running Man.

    For all its cheesy ‘80s greatness, the original version of The Running Man starring Arnold Schwarzenegger was a very loose adaptation of the novel by Stephen King. For the new remake, writer/director Edgar Wright has tried to hue much closer to the story laid out in the book, a decision that has both its positive and negative aspects.

    Glen Powell takes over for Schwarzenegger as Ben Richards, a family man/hothead who can’t seem to hold a job in the dystopian America in which he lives. Desperate to take care of his family, he applies to be on one of the many game shows fed to the masses that promise riches in exchange for humiliation or worse. Thanks to his temper, Ben is chosen for the most popular one of all, The Running Man, in which contestants must survive 30 days while hunters, as well as the general population, track them down.

    Given a 12-hour head start, Ben earns money for every day he survives, as well as every hunter he eliminates. Since he only has a relatively small amount of money to use as he pleases, Ben must rely on friendly citizens who are willing to put their own lives on the line to help him. That’s a task made even more difficult as the gamemakers, led by Dan Killian (Josh Brolin), use advanced AI to manipulate footage of Ben to make him seem like a guy for which no one should root.

    Co-written by Michael Bacall, the film is shockingly uninteresting, working neither as an exciting action film, a fun quippy comedy, or social commentary. The biggest problem is that Wright seems to have no interest in developing any of his characters, starting with Ben. Our introduction to the protagonist is him trying to get his job back, a situation for which there is little context even after we’re beaten over the head with exposition.

    The situation in which Ben finds himself should be easy to make sympathetic, but Wright and Bacall speed through scenes that might have emphasized that aspect in favor of ones that make the story less personal. The filmmakers really want to showcase the supposed antagonistic relationship between Ben and Dan (and the system which Dan represents), but all that effort results in little drama.

    Ben has a number of close calls, and while those scenes are full of action and violence, almost every one of them feels emotionally inert, as if there was nothing at stake. It doesn’t help that Wright doesn’t set the scene well, making it unclear how far Ben has traveled or who/what he’s up against. There are times when Ben feels surrounded and others when he can walk freely, weird for a society that’s supposed to be under almost complete surveillance.

    Powell has been touted as a movie star in the making for several years following his turn in Top Gun: Maverick, but he does little here to make that label stick. With no consistent co-star thanks to the structure of the story, he’s required to carry the film, and he just doesn’t have the juice that a true movie star is supposed to have. Nobody else is served well by the scattershot film, including normally reliable people like Brolin, Colman Domingo, Michael Cera, and Lee Pace.

    The Running Man is a big misfire by Wright and a blow to Powell’s star power. On the surface, it has all the hallmarks of an action thriller with a side of social commentary, but nothing it does or says lands in any meaningful way. Schwarzenegger’s one-liners in the original film may have been goofy and over-the-top, but at least they made the movie memorable, which is way more than can be said of the remake.

    ---

    The Running Man opens in theaters on November 14.

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