By: Shawn McKee
In an alternate, dystopian world, young men participate in an annual walking marathon until only one contestant remains. The contest is a lottery of sorts, where survival of the fittest is all that matters.
Contestants or “walkers” are given a lengthy rulebook beforehand. The rules are simple. They must maintain a certain pace and cannot stop for any reason. They’re allocated a maximum of three warnings per hour.
Exceeding a final warning, they’re shot dead by accompanying soldiers. The last walker to survive is (supposedly) granted anything they want. So begins The Long Walk.
This intriguing premise was facilitated by the early works of Stephen King, based on a 1979 novel he wrote under the pen name Richard Bachman. King, of course, is the master of the setup. It seems only fitting that his latest screen adaptation would draw upon a novel he wrote in college as a likely allegory for the Vietnam War.
The Long Walk also shares thematic elements with another King/Bachman work, The Running Man, in which condemned contestants face off against American Gladiator–style killers while their deaths are broadcast as entertainment.
But where The Running Man turns carnage into ratings, The Long Walk frames its brutality as a tool to foster national unity and pride in a totalitarian society. Nearly 50 years later, King’s freshman novel has finally made its way to the big screen, and it’s clear that upon seeing the film, it was well worth the wait.
The Long Walk is an intense and at times harrowing ride, portraying a desolate America still reeling from the aftermath of a distant civil war. Poverty is rampant, while dissidents are swiftly eliminated—or “squaded”—by government mercenaries. The future appears bleak, yet even in such a world, entertainment remains essential to pacify the masses and rally support for the state.
Both the novel and the movie are unflinching in their portrayal of weaponized entertainment. The Long Walk presents a contest where victory depends on sheer strength and endurance, with the sole survivor awarded “anything they desire,” including boundless wealth.
Ultimately, it highlights the thin line between willing participants, spectators, and the grim reality of using human lives as expendable under the guise of duty and honor—echoing the gladiatorial contests of ancient Rome.
The many strengths of this film adaptation include excellent performances, expansive cinematography, haunting music, precise direction, and a genuine commitment to the source material.
Its opening moments deliver shocking immediacy and carnage—much like the stark beginning of No Country for Old Men (2007). Despite its bleak tone, the film weaves in moments of humor, heart, and intrigue, with its greatest strengths lying in the depth of its character development.
Early on, we’re introduced to the contestants on the first day of the walk. The film largely centers on Raymond “Ray” Garraty (Cooper Hoffman), who entered the contest despite his mother’s desperate pleas.
Hoffman, son of the late-great Phillip Seymour Hoffman, delivers a tremendous performance, carrying much of the film’s emotional weight. We see events unfold through his eyes, much like the novel, and he’s instantly relatable and sympathetic in the lead role.
Garraty forms a bond with fellow contestant Peter McVries (David Jonsson), and their relationship becomes the dramatic core of the film. Jonsson delivers an equally excellent performance as a genuinely good-natured person who repeatedly tries to keep morale high despite the circumstances.
The cast provides uniformly strong performances, and even brief glimpses into each character’s story create a sense of tragic loss when they’re eliminated. The film also smartly reduces the number of contestants from 100 in the book to 50, allowing for a more intimate and focused narrative.
Some contestants, like the ruthless and cunning Barkovitch (Charlie Plummer), are only in it for themselves. Others, like the sardonic Stebbins (Garrett Wareing), offer very little about themselves or their motives. Most are just normal kids, foolishly entering a contest with no discernible end.
The powerful and sadistic leader of the contest, known only as “The Major” (Mark Hamill) applauds the boy’s “patriotic” efforts with multiple bellowing speeches. Hamill has done great things (Tobe Hooper’s segment “Eye” in the 1993 horror anthology Body Bags, anyone?), but he seems a bit off in the role and never really ventures beyond caricature.
Nonetheless, the film achieves remarkable technical artistry throughout. Nearly every scene unfolds in motion, with performances and choreography seamlessly integrated into the act of walking.
Expansive tracking shots capture decaying towns and the mounting exhaustion etched across the contestants’ faces as days drag on. Time and distance are marked by mileposts, each one underscoring the relentless progression toward inevitable doom.
The Long Walk is a solid dystopian thriller that effectively captures all the right elements. I’d rank it in the top ten King adaptations overall.
Francis Lawrence, director of The Hunger Games series (not surprisingly), has ultimately crafted a horror classic a long time in the making.
Rating: 4/5 Stars
