Runner, the new action-comedy film starring Alan Ritchson and Owen Wilson, lands in theaters on September 11, but despite a promising premise and a charismatic lead duo, it ultimately feels like a missed opportunity.
The film centers on Hank Malone (Ritchson), a highly capable "runner" tasked with ensuring packages reach their destination securely. His latest assignment involves escorting Ben Bishop (Wilson), who is transporting a vital organ for a transplant. Hank, a stoic ex-military man with a troubled past, prefers to focus on the job, while the loquacious and friendly Ben aims to forge a connection. This classic buddy-cop dynamic, while predictable, occasionally yields sparks between the two leads.
Ritchson, known for his imposing physical presence, delivers a solid performance, easily transitioning between moments of mayhem and quiet contemplation. Owen Wilson brings his signature comedic timing to the role of Ben, attempting to inject levity and charm into the proceedings. However, the script by Miles Hubley and Tommy White frequently pulls the focus away from the central duo.
Director Scott Waugh's film struggles with underdeveloped subplots, particularly those set at the hospital involving the sick child, Ellie, and her mother, Kate. These detours into increasingly improbable hospital hijinks disrupt the film's pacing and detract from the main narrative. Other narrative threads, such as Hank relying on his ex-wife and her new husband for support, or a parakeet he's tasked with chaperoning, feel similarly undercooked and lack a satisfying payoff.
The antagonist, Damian Zaldívar (Rodrigo Santoro), is introduced as the film's chief villain but often comes across as a one-dimensional threat. His motivations, tied to his mother's need for a liver transplant, hold potential but are never fully explored. The film hints at a potentially more complex dynamic between Zaldívar and his mother, but this thread remains largely untapped.
While the film was shot on location in Brisbane and the Gold Coast in Australia, these settings are not particularly utilized to enhance the visual spectacle. However, when the action does kick in, director Waugh, a former stuntman himself, delivers some effective sequences. Ritchson demonstrates his stunt craft in various action set pieces, from creatively using overturned car parts to engaging in intense shootouts. These moments of carnage, set against the backdrop of the amiable duo, showcase the film's potential, even if they are too infrequently realized.
Runner ultimately offers a competent, if uninspired, blend of action and comedy, leaning heavily on Ritchson's physicality and Wilson's likability. The film's reliance on familiar tropes and its scattered narrative focus prevent it from achieving its full potential.