Before we begin, the movie we are going to talk about is Runner, not The Runner, which stars Gal Gadot. It’s one of those rare moments when Hollywood releases movies that share a similar title concurrently.
When you see names like Arnold Schwarzenegger, Sylvester Stallone, Chuck Norris, or Jackie Chan on a movie poster, you know what kind of film you’re about to experience. These actors have, over time, carved their identities into the action genre, becoming shorthand for a particular brand of high-octane cinema.
For today’s audience, Alan Ritchson feels like the natural heir to that tradition. Just this year alone, we have seen him in War Machine on Netflix, Playdate (a comedy-action which was more of a misfire), Motor City (which I consider to be one of the most unique action movies of the year), and we are currently in a new season of Reacher.
The man has been putting in the work, but above all that, I will reiterate something I mentioned in my review of Motor City, Alan Ritchson was born to play Batman, and I hope that the current team running the DC cinematic universe shares the same sentiments.
Anyway.
Now he’s back with Runner, a 2026 American, yes, you guessed it, action comedy directed by Scott Waugh. He stars alongside Owen Wilson, Rodrigo Santoro, Leila George, Adriana Barraza, Sullivan Stapleton, Peta Sergeant, and Geraldine Hakewill.
The synopsis: a former soldier and his unlikely partner become targets of a ruthless cartel while racing to deliver a critical package and save a little girl’s life. It’s as basic as they come, but that simplicity is the film’s strength. It has all the right ingredients for an action film: a MacGuffin, a combat-trained protagonist, a tattooed antagonist in black, and of course, the emotional anchor.
The movie doesn’t try to put your brain on a treadmill, you don’t need to wrestle with social commentary or psychological puzzles. It’s a clear, accessible premise designed to serve and elevate the action.
The pairing of Owen Wilson and Alan Ritchson works surprisingly well. Hollywood has long loved the odd-couple dynamic, think of something close to Tango and Cash, but here, the contrasting personalities complement each other in ways that create genuine comedic moments and unexpected dramatic turns. There’s a moment where the filmmakers take a character in a direction you wouldn’t expect.
The rest of the cast is okay; the child, plus the props, is enough to keep you invested.
Good pacing
What defines Runner is its refusal to pretend it’s more than an action thriller. By the 20-minute mark, the chase is on, and the film rarely lets up. Even in quieter scenes, there’s always momentum, always a sense of pursuit.
The pacing keeps the stakes rising, and by the third act, the tension is palpable. The action set pieces are inventive; whether it’s clever use of car tyres, carnage, or the concept of the cartel in Australia, the film finds ways to keep familiar tropes fresh. The villains are more than cardboard cut-outs, too.
The cartel’s motivations go beyond money, adding layers to the conflict. There’s the enforcer who handles the dirty work, and ‘mom,’ a figure whose influence over the gang is fascinating despite limited screen time. Throw in Australian bikers, and you’ve got a colourful mix of adversaries who pose a real threat to the good guys.
This is a bright film, almost to the level of a sitcom, with clear visuals that avoid the erratic editing often used to mask weak choreography. The camera lingers when it needs to, capturing the interiors of cars and hand-to-hand combat with clarity, something a lot of modern movies shy away from.
By the time the third-act ambulance chase happens, the tension is through the roof, and the camera work helps telegraph that intensity. The editing during fight scenes is handled well enough that you never lose track of the action, especially in that one third-act fight, which reminded me of the lift fight in Motor City, one of Ritchson’s standout sequences.
Gripes
A doorstep conversation scene feels unnecessary, slowing the pace when more action would have been welcome. The first hour leans more toward thriller than full-blown action, with only a couple of gun work, hand-to-hand fights and car scenes before the chaos of the final act.
I found myself wishing for more combat earlier on. The emotional beats involving the little girl also feel heavy-handed. The film works overtime to make you care, emphasising her eyes using oversized glasses in ways that border on manipulative. It heightens the tension, but the effort is obvious.
So, can we call this a mindless popcorn movie? Well, Runner is not mindless action; it has structure, sensibility, and a clear story. The premise may be basic, but the execution makes it enjoyable. The third act is wild, full of surprises you won’t see coming, and it cements the film as one of Ritchson’s most enjoyable action thrillers. It’s fast-paced, tense, and entertaining, with action that feels both classic and fresh. Most importantly, its runtime is just perfect, 90 minutes to be exact.