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    Movie Review

    Wildly over-the-top new film Beaten to Death gets its graphic point across

    Alex Bentley
    Sep 5, 2023 | 12:57 pm

    Although many horror movies deal in the supernatural or villains who defy the laws of nature, sometimes the most horrific things imaginable are those done by regular human beings. The new Australian film Beaten to Death takes that idea and runs with it, serving up some of the most chilling scenes in recent memory.

    The film, directed by Sam Curtain and written by Curtain and Benjamin Jung-Clarke, throws the audience directly into its gory story, opening with Jack (Thomas Roach) covered in blood and stumbling over a barren landscape somewhere in Australia. A flashback to 48 hours earlier shows him getting beaten to hell by another man for unknown reasons, with Jack’s wife Rachel (Nicole Tudor) lying dead nearby.

    The 90-minute film tracks Jack as he does everything he can to survive. It features flashbacks to Jack and Rachel’s life together and flash-forwards that give the audience information they don’t have in “current” scenes, both of which serve to illuminate a situation that is unknowable at the beginning. The one thing that ties them all together is a brutality that is extreme even by the standards of horror movies.

    For genre aficionados, it’s best to go into the film with as little knowledge as possible, as the twists and turns it takes are what make it successful. Suffice it to say that the film earns its horror bona fides both in its storytelling and graphic sequences. Jack’s knack for surviving is inspirational since, as the protagonist, you want him to live, and also something that stretches the bounds of believability, even if Curtain ties up most of the loose ends.

    The explicit nature of the film’s horror scenes is what will grab most people’s attention, and rightfully so. But despite the film containing copious amounts of blood, it’s the aural parts of the film that do as much to up the intensity as the visual ones. Much of what Jack goes through leaves an indelible optical mark, but a few scenes leave the viciousness up to the viewer’s imagination, and somehow that makes the experience even more powerful.

    The film does contain some leaps of logic that take it back a peg or two, even if you give Curtain the benefit of the doubt in some of the situations. However, the film moves at a quick-enough pace and contains enough ultra-violence that anything that doesn’t make as much sense is soon forgotten.

    The actors are all Australians who have yet to become known to American audiences, but that anonymity serves them well in the film. Roach’s character is put through the wringer, and he truly makes you feel every punch he takes. David Tracy is as menacing as they come, especially because he plays his character in as normal a way as possible.

    With a title like Beaten to Death, you have to deliver the goods, and it does in almost every way. This type of horror movie is clearly not for everybody, and even those who get a vicarious thrill in witnessing people getting brutalized may find themselves begging for mercy.

    Thomas Roach in Beaten to Death

    Photo courtesy of Welcome Villain Films

    Thomas Roach in Beaten to Death.

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    Beaten to Death is now playing in select theaters.

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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.

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    The Running Man opens in theaters on November 14.

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