Why Did ‘The Running Man’ Stumble at the Box Office with a $28M Global Debut?
In the ever-evolving post-pandemic and post-strike theatrical landscape, where studios are still grappling with what resonates with audiences, Paramount’s $110 million reboot of The Running Man seemed like a sure bet. Starring the charismatic and rising star Glen Powell, fresh off the massive successes of Top Gun: Maverick ($1.49 billion globally) and Twisters ($372 million), the film was poised for greatness. But instead, it stumbled out of the gate, pulling in just $17 million domestically and $28.2 million globally. But here’s where it gets controversial: Was it the film itself, or was it the behind-the-scenes turmoil at Paramount that sealed its fate?
On paper, The Running Man had all the ingredients for success. Directed by the acclaimed Edgar Wright (Baby Driver), the film was a reimagining of Stephen King’s dystopian thriller (written under his Richard Bachman pseudonym). It promised a high-stakes race for survival, with Powell’s character pursued by assassins while chasing a life-changing lottery prize. And this is the part most people miss: Despite strong test screenings in the high 80% range, which justified its November holiday release, the film’s marketing and internal studio dynamics seemed to work against it.
Digging deeper, it becomes clear that The Running Man’s box office failure wasn’t just about audience reception. The film was greenlit under the previous Paramount leadership, headed by Brian Robbins. However, a change in administration to David Ellison brought a shift in priorities. Boldly put, the new guard wasn’t sold on the project. This is a common issue in Hollywood—new executives often inherit projects they didn’t initiate, and their lack of enthusiasm can trickle down to marketing efforts and overall support.
Adding to the chaos, Paramount’s marketing department was in flux. Global Distribution and Marketing Boss Marc Weinstock had exited earlier in the fall, leaving a leadership vacuum until Josh Goldstine took over on October 15—just a month before the film’s release. During this interim period, marketing staffers were in limbo, unsure of who to take direction from. Goldstine, a marketing veteran known for his last-minute miracles (think Dune and The Batman), tried to salvage the situation by releasing additional trailers emphasizing thematic elements and targeting diverse demographics. But the damage was already done.
The film’s initial tracking projected a $20 million opening, a disappointing figure for a would-be franchise starter. To make matters worse, marketing budgets were slashed as audience diagnostics looked bleak. Critics didn’t help, panning the film’s social satire, though it still fared better than Now You See Me 3 (59% Rotten Tomatoes vs. 36%). Here’s the kicker: Despite similar CinemaScores (B+), Lionsgate’s Now You See Me: Now You Don’t outperformed The Running Man with a $21.3 million domestic and $75.5 million global opening. Why? It appealed to a broader, more female-dominated audience, while The Running Man leaned heavily on Powell’s star power and the sci-fi genre—which, according to PostTrak, was only the third reason audiences showed up.
Is this a referendum on Glen Powell’s ability to carry a film? Absolutely not. Powell, like Ryan Reynolds or Tom Cruise, is known for his hands-on approach to promotion and genuine commitment to his projects. Despite The Running Man’s underperformance, Powell’s appeal to Middle America was evident, with the film performing more evenly across the country than in coastal cities, where sci-fi typically thrives.
The bigger question, though, is why reboot The Running Man in the first place? The 1987 original, starring Arnold Schwarzenegger, was a modest success at best ($38 million domestic, unadjusted for inflation). And The Running Man’s failure joins a growing list of 1980s sci-fi IP reboots that have flopped, including Tron: Ares ($220 million budget, $141 million global box office) and Blade Runner 2049 ($278 million global off a $150-$185 million budget). Does this spell doom for future 1980s sci-fi revivals? Or is there still hope, as seen with Denis Villeneuve’s Dune franchise, which turned Frank Herbert’s once-bombed source material into a $1.1 billion global phenomenon?
As one source close to The Running Man noted, “Only older males showed up this weekend,” highlighting the film’s limited demographic appeal. So, what does this mean for other 1980s cult classics like Buckaroo Banzai and Krull? Are their reboots doomed before they even begin?
What do you think? Was The Running Man’s failure a result of poor marketing, studio turmoil, or a lack of audience interest in the concept? Or is the era of 1980s sci-fi reboots officially over? Let us know in the comments!
