By Andrew Buckner

Rating: ***½ out of *****.

Arena Wars (2024), from writer and director Brandon Slagle, is a scrappy, often entertaining variation on such dystopian science-fiction/action films as Paul Michael Glaser’s adaptation of Richard Bachman’s same titled 1982 novel, The Running Man (1987), and Joe D’Amato’s cult classic Endgame (1983). The latest cinematic exercise from Slagle also boasts a brutal tone that is successfully executed throughout the 95-minute project. It also incorporates crisp, all-around beautiful cinematography from frequent Mahal Empire Productions collaborator Michael Su. These elements, along with a plethora of one-on-one fight sequences that are quick, credible, grounded, and thrilling, continually lift the film up when the overfamiliarity of the material threatens to sink the composition. These conventions extend to the characters, their backstories and arcs, the dialogue, themes including corporate corruption and media greed, and, most notably, the plot, and the structure of the piece itself. Additionally, though the pace of the endeavor is smooth, the occasional slow-moving section creeps into the proceedings. This is especially true of the second and third acts of the undertaking. Nonetheless, Slagle has crafted an undemanding, pleasantly straightforward, ultimately satisfying picture that is perfectly suited for late-night viewing.

Set in 2045, the narrative revolves around a sporting event entitled Arena Wars. Taking place over seven rooms, the televised competition finds convicted death row criminals fighting for their freedom against seven of the most monstrous murderers in the country. Despite the high ratings of the program, audiences are growing tired of the violent spectacle. Sensing that viewers need someone to root for to make the show more intriguing, an innocent, undercover man and skilled marine, Luke Bender (John Wells, in a commanding portrayal that effortlessly exerts a gruff aura), is offered a chance to lead the inmates through the game. Upon accepting the proposal, Bender must guide through myriad trust issues within his group as well as the vengeful fists of his opponents in the name of liberation. 

Though Michael Madsen and Eric Roberts (as Arena Wars co-host Samson and Admiral Jordan, respectively) provide workmanlike performances, their easily recognizable and likable presence erects welcome strong spots throughout the creation. Other highlights in this department can be found in Sheri Davis’ lively depiction of Arena Wars’ announcer, Holly Daze, Kylie Fulmer’s gripping turn as Billie, and Kevin Hager’s same said representation of Belladonna. Robert Donovan is marvelous as Samson’s co-hosting partner, Moses. Maria Bova is just as good as the off-the-wall, ever-watchable Cutie Pie. Robert LaSardo is tense and compelling as Perez.

Outside of the generally excellent enactments found in the design, the music from Scott Glasgow is appropriately rich, dramatic, and striking. Furthermore, the effects, particularly the plentiful gory bits, are memorable and impressive. The editing from Wayne Kent and costume design by Joseph Goratowski and Mercedes Peterson (who is outstanding as Domino), are extraordinary. The proficient sound utilized in the exertion helps Slagle’s outing roar clearly to life throughout every frame. The sets, makeup, and stunts are also deftly implemented.

Released on June 25th, 2024 on digital platforms through Gravitas Ventures, Arena Wars is an ambitious yet intimate example of the can-do spirit of independent moviemaking. The direction from Slagle is sharp. It is also injected with just the right amount of style. Though the screenplay from Slagle isn’t as sturdy, the attempt is filled with engrossingly wild, larger than life villains. It also contains a protagonist who is more authentic because his flaws aren’t hidden from the screen. Ultimately, the fabrication is a finely honed jolt of adrenaline. Like the hero of this tale, audiences will find it easy to cheer for this feature.