Directed by: Francis Lawrence
Written by: JT Mollner
Run Time: 1 hour 48 mins

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For a while now – specifically since Doctor Sleep (2019) – Stephen King film adaptations haven’t been transitioning to the big screen with as much success as before. Oz Perkins’ comedy-horror The Monkey (2025) was somewhat one-note, while more recently Mike Flanagan’s fantasy-drama The Life of Chuck (2024) felt tonally confused. Still, it’s never too long before another of the famed author’s stories is given the cinematic treatment – the latest being Francis Lawrence’s The Long Walk, adapted from a book written by King under his pseudonym Richard Bachman.

Set in an alternate America existing under totalitarian rule, the film follows Raymond Garraty (Cooper Hoffman), a young man selected to participate in the state’s annual competition: the titular “Long Walk.” It sees fifty teenage boys compete in a challenge where they must maintain a walking speed of at least 3 mph without stopping. The contest continues for as long is needed until only one of them remains, with the winner receiving a huge cash prize and a single wish.

As dystopian thrillers go, this straightforward concept isn’t maybe as immediately thrilling as the likes of Kinji Fukasaku’s Battle Royale (2000) or The Hunger Games series – most of which was also directed by Lawrence. However, it’s instantly evident that all is not as it seems. As Raymond’s mother (an excellent Judy Greer) drives him to the starting line she pleads with him to reconsider. Their emotional farewell only indicates further that the stakes of this competition are far more serious than they may initially appear. While the first, violent elimination confirms the inevitable reality that everyone’s been trying to avoid: it’s walk, or die.

The details of the world in which The Long Walk is set in are kept vague, but JT Mollner’s screenplay adequately alludes to the context for this brutal contest. As the boys walk for miles upon miles they talk about anything and everything and their collective and varied experiences paints an illuminating picture of their broken society and its authoritarian rule. The main representation of this is Mark Hamill’s Major, who oversees the competition with stern discipline. It’s unfortunate then, that Hamill’s portrayal of this imposing character is so unconvincing. He – and the film – at least benefit from the fact that he’s a figure often talked about rather than actually seen, as the discussions about him are infinitely more effective than Hamill’s awkward attempts at embodying him.

Hamill aside though, the cast is faultless. Cooper Hoffman leads the ensemble with an effortless charm, easily demonstrating Raymond’s gentle nature and noticeable kindness. Yet he also affords him much depth, making way for his more serious motivations for competing. The first competitor he encounters is David Jonsson’s Peter McVries, whom with he quickly forms a tight bond. Their chemistry is instant and their remarkable connection is the beating heart of the film. It creates a rhythm of intense emotion that moves in tandem with the film’s relentless action but also creates space for levity, humour and joy.

It’s no wonder that Raymond is drawn to Peter, as Jonsson makes him such a likeable character. He carries himself with a confidence and lightness that many of the other boys lack, not because he hasn’t experienced hardship, but because he understands the value of appreciating life’s small blessings. Jonsson finds this nuanced balance with ease, continuing his undeniable rise to stardom after his notable performances in Rye Lane (2023) and Alien: Romulus (2024). One might think it would be hard for any single actor to emerge as a stand out from such a large ensemble, but Jonsson consistently strides ahead.

Nevertheless, The Long Walk remains rich with many other compelling characters and strong performances. The likes of Charlie Plummer, Garrett Wareing, Ben Wang, Joshua Odjick and Tut Nyuot all make their mark on the picture in one way or another. Rather than treat these secondary characters as disposable plot points only, Mollner’s script encourages the audience to invest in them – even though both the characters and viewers know that any attachment formed will ultimately be short-lived. It’s this cruel juxtaposition of humanity and circumstance that makes the film such an emotionally charged experience.

Lawrence too ensures that despite the potentially pedestrian nature of the plot, The Long Walk never feels plodding. Instead, he propels the story forward with a momentum that keeps the narrative engrossing throughout. It’s a collective success though, as Mollner’s dialogue is consistently engaging and Jeremiah Fraites’ multifaceted score – as thrilling as it is moving – successfully marries the drama and action together. He guides audiences through the highs and lows of this harrowing ordeal, allowing moments of delicate softness amidst the unforgiving landscape unfolding ahead.

The irony was maybe inescapable, but when The Long Walk does eventually reach its end point, it encounters a slight stumble. It’s not anti-climactic, but its final moments just feel a little rushed. Perhaps it’s just the gutting realisation that the time these boys have spent together is now at an end, a sentiment that viewers will no doubt share. Nonetheless, the carefully plotted journey The Long Walk takes to reach this crucial moment is more than enough to withstand any minor misstep.

After all, Jonsson’s character reminds us to look for the good in even the bleakest of situations, but The Long Walk callously tests this belief to its breaking point – making it the most compelling Stephen King adaptation in recent memory, and certainly the most affecting.

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Star Rating: ★ ★ ★ ★

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