The Long Walk Review: As Grueling and Brutal As the Title Implies

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The upcoming movie “The Long Walk” is an adaptation of a novel written under Stephen King’s pseudonym, Richard Bachman, from 1979. This film is also the latest work by renowned director Francis Lawrence, who gained popularity for his adaptations like the cult classic “I Am Legend” and his groundbreaking work on the “Hunger Games” sequel films, the prequel film “A Ballad of Songbirds and Snakes,” and the upcoming second prequel “Sunrise on the Reaping.” From this list, it’s evident that Francis Lawrence has a knack for stories centered around characters who find themselves in dire circumstances with few or no allies other than their chosen companions. Given this, “The Long Walk” seems like the ideal project for him, considering its themes of isolation and survival.

In this movie, the plot unfolds in an America that’s starkly different, dominated by authoritarian rule where citizens lead meager lives under constant surveillance. Each year, a competition called “The Long Walk” occurs along a lengthy highway; a selection of young males is picked from those who opt-in, to participate in a televised march until one man remains. Those who fall behind the set pace, stray off the designated path, or disobey the rules receive deadly consequences. As the participants embark on this fated journey, they develop relationships and, at times, friendships. However, friendship offers little comfort as the finish line approaches. This shared experience either unites some or breaks others, while also offering insights into their world and self-discovery. (Does this story resonate with you?)

There’s little doubt that Francis Lawrence can craft a compelling and harmonious cinematic journey from “The Long Walk”. His knack for visually amplifying the deep socio-political-philosophical undertones in genre films has become his trademark, and this movie serves as another testament to his exceptional talent. The film is rich with evocative visual symbols; it skillfully balances the horrors of its graphic violence, while seamlessly transitioning between scenes of terror, humor, and even tender optimism.

The key lies in creating a cinematic experience that seamlessly flows without interruption, even though it adheres to traditional structures with distinct segments. Once the story starts unfolding, the relentless suspense doesn’t let up; instead, characters gradually disappear, leading inevitably to a heart-wrenching conclusion. The sense of impending doom, despair, hopelessness, and frustration intensifies with each loss, making JT Mollner’s script seem twice as powerful on screen compared to its written form. This film feels particularly current, relatable, and even more unsettling because of it. It’s essential to note that Lawrence skillfully establishes the premise and format of the movie, but the real substance lies in the compelling performances delivered by a talented cast of young actors whose interactions keep viewers engaged throughout the 108-minute runtime.

David Jonsson is currently experiencing significant success as an emerging actor, having recently played a unique android character in Fede Álvarez’s ‘Alien: Romulus’, and now delivering a captivating, multidimensional performance as Peter McVries (#23), the scarred-faced yet compassionate child.

Following closely behind is Cooper Hoffman, who built on his initial breakout role in Paul Thomas Anderson’s ‘Licorice Pizza’ (2021) with a central role as Raymond Garraty (#47). Hoffman brings a warm and relatable everyman persona to the screen that camouflages the rich character development throughout the film. Additionally, Hoffman delivers one of the most physically demanding performances in the group, with certain scenes hinging on Ray’s physicality and agility (or lack thereof).

Ben Wang is continuing his own breakout streak after ‘Karate Kid: Legends’ earlier this year; he portrays Hank (#46) and provides many of the film’s best humorous exchanges, as well as some of its most poignant dramatic moments – a testament to his versatility.

Emerging actor Tut Nyuot might be on the verge of stardom with this film, portraying Arthur (#6), a boy who is somewhat spiritual and tries to maintain a friendly or pleasant atmosphere among the characters. Joining the main cast is Charlie Plummer from “Boardwalk Empire,” who delivers a memorable performance as Gary Barkovitch (#6), a rural lad indifferent to anything except tormenting his fellow competitors. Star Wars legend Mark Hamill makes several significant appearances as “The Major,” a feared military leader known nationwide, who supervises The Long Walk competition. While Hamill’s character is more of a forceful and satirical caricature rather than a fully developed character, it’s a shrewd decision to have him involved in the film due to his screen presence.

There’s no doubt about it: “The Long Walk” doesn’t shy away from its duties as a horror film. Lawrence skillfully portrays the consequences of failure graphically, leaving no kill untouched by their intensity. Given the movie’s meticulous character development and exploration of each character’s background, every loss is deeply felt – except for the customary side characters whose primary purpose seems to be increasing the body count and contributing to shocking horror scenes.

The movie’s strength lies in its focus on the boys and their journey, making each step seem fraught with dangers as minor as a misstep on an ankle. This is a feat that few other horror-thriller films can achieve, creating a tense and draining viewing experience – one that’s exhausting yet rewarding.

While “The Long Walk” excels as a horror-thriller due to its societal commentary and dramatic climax, it falls short in providing sufficient visual context about this version of America. The story’s conclusion is not very clear, making the film feel more like a grueling display of violence rather than an enlightening or thought-provoking experience. The film often seems exploitative instead of insightful, and its graphic portrayal of violence may leave many viewers feeling uncomfortable.

David Fincher’s movie, “Se7en,” consistently emphasizes that horror-thrillers don’t necessarily adhere to the same cheerful ending conventions as other films. And it appears that Lawrence shares this view, suggesting that just because “The Long Walk” exists, it doesn’t mean the world has been resolved. In essence, he might be correct in his assertion, and it will indeed be fascinating to see how the film is perceived as we look back on it from a later perspective.

The Long Walk is now in theaters.

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2025-08-29 01:41