Synopsis
Every bullet leaves a trail.
A low-ranking thug is entrusted by his boss to dispose of a gun that killed corrupt cops, but things spiral out of control when the gun ends up in wrong hands.
Running Scared
Cast
Paul Walker Cameron Bright Vera Farmiga Chazz Palminteri Karel Roden Johnny Messner Ivana Miličević Alex Neuberger Michael Cudlitz Bruce Altman Elizabeth Mitchell Arthur J. Nascarella John Noble Idalis DeLeon David Warshofsky Evangeline Jim Tooey Thomas Rosales Jr. Morgan Johnson Jamba Mulimbwe Maurice Lee Viktor Cervenka Oakley Lehman Jan Kohout Jeffrey Smith Karen Joy Cifarelli Brian Caspe Ryan James Ellen Savaria Show All…
Director
Producers
Writer
Casting
Editor
Cinematography
Assistant Directors
Executive Producers
Lighting
Camera Operators
Production Design
Art Direction
Set Decoration
Special Effects
Visual Effects
Stunts
Joel Kramer Petr Sekanina John Cenatiempo Chris Cenatiempo Dylan Bucossi Jennifer Lamb Monika Podzimkova Kamila Zenkerová Oakley Lehman
Composer
Sound
Costume Design
Makeup
Hairstyling
Studios
True Grit Productions International Production Company Pierce/Williams Entertainment Zero Gravity Management New Line Cinema Media 8 Entertainment VIP 1 Medienfonds VIP 2 Medienfonds MDP Filmproduktion
Countries
Primary Language
Spoken Languages
Alternative Titles
Bek neatsigrezdamas, Running Scared - Renn oder stirb, Running, Беги без оглядки, Kaçış, 夺命枪火, La Peur au ventre, Medo de Morte, Halálos hajsza, Zběsilý útěk, Potęga Strachu, La prueba del crimen, Панично бекство, Τρέξε Γρήγορα, כרוניקה של אקדח, No Rastro da Bala, Între focuri, Панічна втеча, Traqué, 奪命鎗火, Бягащ до смърт, Panična potjera, ワイルド・バレット, Na begu pred mafijo, 러닝 스케어드, El día del crimen, Zbesilý útek, Họng Súng Tử Thần, Bėk neatsigręždamas
Genres
Themes
Releases by Date
Theatrical
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Ireland18
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UK18
24 Feb 2006
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Brazil16
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USAR
01 Mar 2006
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France
16 Mar 2006
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Russian Federation
17 Mar 2006
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Romania
23 Mar 2006
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Singapore
24 Mar 2006
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Taiwan
30 Mar 2006
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Netherlands12
31 Mar 2006
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Denmark
13 Apr 2006
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AustraliaMA15+
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Germany16
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Italy
14 Apr 2006
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Iceland
20 Apr 2006
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Greece
-
Israel
-
Thailand
21 Apr 2006
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Finland
27 Apr 2006
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PortugalM/16
28 Apr 2006
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Sweden
10 May 2006
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Belgium
19 May 2006
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Austria
08 Jun 2006
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South Korea
24 Aug 2006
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Argentina
20 Oct 2006
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Spain
01 Dec 2006
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Mexico
26 Apr 2007
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Hungary
21 Sep 2007
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Panama
11 Oct 2008
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Japan
Physical
26 Oct 2006
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Netherlands12
30 Nov 2006
-
Poland
07 Feb 2007
-
Australia
27 Nov 2007
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Netherlands12
TV
30 Aug 2008
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Netherlands12
Releases by Country
Argentina
24 Aug 2006
- Theatrical
Australia
13 Apr 2006
- TheatricalMA15+
07 Feb 2007
- Physical DVD
Austria
19 May 2006
- Theatrical
Belgium
10 May 2006
- Theatrical
Brazil
24 Feb 2006
- Theatrical16
Denmark
31 Mar 2006
- Theatrical
Finland
21 Apr 2006
- Theatrical
France
01 Mar 2006
- Theatrical
Germany
13 Apr 2006
- Theatrical16
Greece
20 Apr 2006
- Theatrical
Hungary
26 Apr 2007
- Theatrical
Iceland
14 Apr 2006
- Theatrical
Ireland
06 Jan 2006
- Theatrical18
Israel
20 Apr 2006
- Theatrical
Italy
13 Apr 2006
- Theatrical
Japan
11 Oct 2008
- Theatrical
Mexico
01 Dec 2006
- Theatrical
Netherlands
30 Mar 2006
- Theatrical12
26 Oct 2006
- Physical12 DVD
27 Nov 2007
- Physical12 Blu ray
30 Aug 2008
- TV12 RTL 5
Panama
21 Sep 2007
- Theatrical
Poland
30 Nov 2006
- Physical DVD
Portugal
27 Apr 2006
- TheatricalM/16
Romania
17 Mar 2006
- Theatrical
Russian Federation
16 Mar 2006
- Theatrical
Singapore
23 Mar 2006
- Theatrical
South Korea
08 Jun 2006
- Theatrical
Spain
20 Oct 2006
- Theatrical
Sweden
28 Apr 2006
- Theatrical
Taiwan
24 Mar 2006
- Theatrical
Thailand
20 Apr 2006
- Theatrical
UK
06 Jan 2006
- Theatrical18
USA
24 Feb 2006
- TheatricalR
Popular reviews
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Brian O'Conner stars in this modern day Grimm's fairy tale about the adventures of a little Russian-American Charlie Bronson, a desperate man who is in way too deep with the Mob, a missing gun, and multiple Big Bad Wolves. An opening straight outta King of New York. A nut-shot. A crackhead with a semi-unhealthy obsession with the Duke. A whacked-out hobo. Going down on Mrs. Bates. The chic that gets naked a lot on Banshee. A strip club. A MacDaddy pimp-slap. Between the eyes Southland style. A variation of the word Fuck used at least 328 times. A creepy apartment. An even creepier couple of creepers. Two sick-fucks get what they deserve. A Usual Suspect's priceless MasterCard moment. Flaming cock.…
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Oh boy this was all kinds of a cliche mess to me and felt like the further fallout from Quentin Tarantino ripoffs of the late 90's. Everything was hyperstylized like Tony Scott as they used so many different angles and camera movements as possible in padding out a film that should not have been this long to tell it's limited tale. We get this sorted story of trying to follow this gun that our lead needs to get back that surprised me that it didn't wind up in Forrest Gump's hands for it's travel journey.
I couldn't buy the crux of the story cause I feel unless you have an eye witness to the gun who would admit to being… -
The ever-charming and kind-hearted Paul Walker turns into a rough-mouthed, angry criminal whose life is threatened when the friend of his child, who is growing up in abusive circumstances, shoots him with a handgun used to shoot a cop earlier that day. Walker's Joey Gazelle is now on the run, trying to find that kid and recover the evidence before he gets caught and is sent to prison for good... or worse.
Director Wayne Kramer channels Tony Scott in terms of its later visual/editing style in a way that often rivals the late filmmaker's work, even though it lacks much of the substance of the director. Despite the story's obvious derivative qualities, the twists and turns keep everything interesting, especially…
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"YOU DON'T WALK OUT ON THE DUKE!"
After a hit goes wrong and a cop is killed, Joey Gazelle (Paul Walker) stashes the gun. Things go off the rails when the neighbour kid Oleg (Cameron Bright) takes the weapon and uses it to shoot his abusive John Wayne loving step-father Anzor (Karel Roden). In the chaos that follows both Oleg and the gun go missing, and Joey heads off on a nightmarish odyssey to clean up the mess.
On the negative side, this is a very dumb movie (you can already tell from the decision to name a main character Gazelle in a film called Running Scared). The hyper stylization is really cool but also often comes off as a…
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A modern day exploitation movie, that’s nasty and violent as all hell. It’s darker than you’d probably expect from what looks like, at first glance, a simple action movie starring Paul Walker. This really blew me away when I randomly rented it from a Redbox in 2007, along with Ultraviolet, lol.
After being throughly disappointed by Ultraviolet, I threw this on in the middle of the night, and it didn’t take long for me to be shaken out of my late night drowsiness. This movie comes in like a shotgun blast through the door and never lets up after that. 2 hours of a manic, frenzied energy, all kicked off by a boy stealing a gun from Paul Walker that…
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Thank you, Criterion Channel, for allowing me the rare and ridiculous privilege of realizing that the dumbest screenplay I wrote as a teen owed a hell of a lot to a B-thriller I hadn’t seen in nearly twenty years. “Cannon Films for the Aughts” is the vibe.
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Running Scared has style and pizzazz coming out of its ears. Both narratively and visually, the film oozes vigour and panache with each twist and flashy transition. But the film is quiet about this - ensuring it ostensibly appears to be conventional. A crime/thriller that focuses on sleazy gangs sounds run-of-the-mill and Running Scared adopts this ordinary visage so the underlying, expressionistic, bubbling and novel style of Wayne Kramer's product is much more jolting. Gripping, hypnotic and yes, definitely scattered, but I say this as a compliment. There is so much going on and so many reversals of rhythm and tone, but it's done in a way that isn't convoluted, but is gripping and digestible.
Ever since his passing, I've…
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i should be able to get behind something this digressive and silly and loaded with exuberant sleaze but there's no real pulse here, just a series of empty vignettes. at least something like SIN CITY, which i find equally boring and garish, has the power of Frank Miller's stupid personality. somebody should take this script back in time to 1975 and give it to Fernando Di Leo.
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Like Tony Scott made his own version of JERSEY SHORE, with a wild, mescaline freak out filtration of Grimm’s Fairy Tales washed through a scummy, breakneck crime picture. Very loud. Very much for me.
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