- Permission vs. Ability: While often used interchangeably with "can," boleh strictly refers to being permitted or allowed, whereas bisa (in Indonesian) specifically refers to capability/skill, say Indonesian with Lauren on TikTok and a Facebook post.
- Malay Usage: In Malaysian Malay, boleh covers both "allowed" and "able to".
- "Boleh Lah": An expression meaning "it's okay," "it's acceptable," or used sarcastically to indicate something is just barely acceptable, say a Reddit post.
- "Malaysia Boleh": A popular slogan meaning "Malaysia Can" or "Malaysia Can Do It," used to express encouragement and resilience.
- Interjection: It can be used alone to mean "sure," "can," or "yes".
| Man on the Run | |
|---|---|
 Theatrical release poster | |
| Directed by | Morgan Neville |
| Produced by |
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| Narrated by | Paul McCartney |
| Edited by | Alan Lowe |
Production companies | |
| Distributed by |
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Release dates |
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Running time | 115 minutes[1][a] |
| Countries |
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| Language | English |
| Box office | $501,000[2] |
Man on the Run is a 2025 documentary film directed by Morgan Neville[3][4] about the life of Paul McCartney from his formation of Wings through the 1970s. McCartney is credited as an executive producer.[3]
The film coincides with the 2025 box set Wings, and the book Wings: The Story of a Band on the Run.
Release
The film premiered at the Telluride Film Festival on 30 August 2025.[5] Amazon MGM acquired distribution rights.[3][6]
It had a limited theatrical release by Trafalgar Releasing on 19 February 2026,[7] and was released on Amazon Prime Video on 27 February 2026,[8] when the soundtrack album was also released.[9]
Reception
On the review aggregator website Rotten Tomatoes, 100% of 62 critics' reviews are positive.[10] Metacritic, which uses a weighted average, assigned the film a score of 78 out of 100, based on 17 critics, indicating "generally favorable" reviews.[11]
In The Guardian, Peter Bradshaw gave the film 4/5 stars, writing: "You may find yourself wondering why we are going over this ground again, but it’s an engaging film, and there is always something mesmeric in McCartney’s face: cherubic, and yet sharp and watchful."[12]
In NME, Jordan Bassett also gave 4/5 stars, writing: "The director does an excellent job of capturing the weight of expectations laid at McCartney’s door in April 1970, when he casually revealed that the Beatles were no more. ... At one point, [McCartney] insists he’s not a workaholic but a 'playaholic', which might be the ultimate Macca-ism. In fact, that quip sums up his depiction in Man On The Run: goofy and a little corny, but always endearingly himself."[13]
Chris Willman wrote in Variety: "Man on the Run is a heck of a lot of fun to watch ... Neville’s movie serves as a splendid jukebox, offering rapid-fire clips that bowl you over anew with just how rapidly McCartney’s own synapses were firing on ingenious hit after hit. What it isn’t, though, is revelatory. ... Neville’s film is probably aimed most at the fair-weather oldsters who have fairly cursory memories of McCartney’s 1970s work, and/or the young people who haven’t yet encountered it in the first place, than to hardcore Beatlemaniacs hoping this would be a prime opportunity to open the door and let us (further) in."[14]
In The Times, Kevin Maher gave 4/5 stars, writing: "There is so much to love in this guilty-pleasure documentary from Morgan Neville. ... Here, while charting the glorious rise and quiet collapse of Wings, McCartney’s post-Beatles outfit, Neville mostly stands back and allows nearly two hours of deep-dive archive material to do the work. ... In the end there are no revelations, just a warm and cosy restatement of cultural history. Wings were good, the Beatles were better, and the musical world is very lucky indeed to have been enriched by Paul McCartney."[15]
In Rolling Stone (UK), Nick Reilly gave 4/5 stars, writing: "It’s clear that, eventually, Wings were the success that McCartney had always envisaged them being. It may have took some time, as this documentary shows in admirably honest detail. It’s the story of a man on the run from the greatest band of the all time, but eventually heading in the direction of another almighty success. McCartney fans will lap it up."[16]
In Time Out, Phil de Semlyen gave 4/5 stars and wrote: "Piecing together a snappy collage of ’70s home video, unseen archive and gig footage, plus some insightful voiceover interviews, the Piece By Piece and 20 Feet From Stardom director revisits Paul McCartney as he tries to figure out what it is to be an ex-Beatle – and, ideally, how to graduate from it."[17]
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From Wikipedia, the free encyclopedia： Man on the Run is a 2025 documentary film directed by Morgan Neville[3][4] about the life of Paul McCartney from his formation of Wings through the 1970s.
In 2026, Paul McCartney offered one of his most revealing reflections in years through the audio project Man on the Run, released in March. Rather than a conventional interview, it unfolded as something closer to an oral history, built from previously unheard recordings gathered across decades.
What emerged was not a polished narrative, but a personal one.
Among the most striking moments was his recollection of meeting John Lennon for the first time. It was not framed as a legendary encounter, but as something simpler and more human. Two young musicians, both drawn to songwriting, both searching for something they could not yet fully define.
Paul described a feeling that stayed with him from that moment onward, the sense that he had finally found someone who understood the same instinct, the same need to create. It was not just friendship. It was recognition.
That connection would go on to shape everything.
The project also moves into the years after The Beatles, a period often discussed in fragments, but rarely with this level of openness. Paul speaks about isolation without dramatizing it, describing the quiet disorientation that followed the band’s breakup, when the structure that had defined his life suddenly disappeared.
There is no attempt to rewrite that time as something easier than it was.
Instead, he reflects on the slow process of rebuilding, both personally and creatively. The return to music did not arrive as a sudden breakthrough, but as something gradual, shaped by uncertainty, persistence, and the need to find meaning again outside of what had been lost.
What makes Man on the Run stand out is not new information alone, but the tone in which it is shared.
There is less emphasis on legacy, and more on experience. Less distance, more honesty. It feels less like an artist looking back, and more like a person remembering how it felt to live through those moments as they unfolded.
In that sense, the project becomes more than a reflection on music.
It becomes a reflection on connection, loss, and the quiet, ongoing process of beginning again.
