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Wow, let me start by saying I didn't have a clue what I was walking into other than Stephen King being attached to this project. This movie is brutal, which is a shocking way to describe a movie that I thought is one of the best I have seen in a long time. My stomach was twisting and my leg developed a nervous twitch the deeper into the film I got. By the last quarter of the film, I had tears in my eyes and could hardly keep it together. So you are probably wondering, why? Well this movie cuts right to the heart of why any of us choose to get up each morning and walk around all day, even when life is throwing everything bad at us. It's because it's what you do when you are alive, you walk, and you walk because you have purpose. And we walk in spite of the fact we all know that one day we won't be able to walk anymore because our time will be up. Some decide when to quit their walk, some have their bodies or minds decide for them, and many continue their walk because of those they love picking them up and helping them move forward. And some just walk because that's all they know to do, survive. I won't say anymore, other than watch this film and prepare yourself for a hard but necessary watch. Bravo to all those involved with this film and story.

If you film a much loved book, say Lord of the Rings for this example, and, at the council of Elrond, Gandalf says "Oh, you want to take the ring to Gondor Boromir? OK then", fans of the book are going to be disappointed. And that's how I feel right now. Unlike LOTR, The Long Walk does not have a great deal of action in the traditional sense, so why remove what important moments there are: an adolescent who's never had sex risking everything for a kiss? The barbaric nature of huge crowds gathered to cheer on boys about to die? Or to gamble what small funds they have on who will survive? Why remove all the things that made a novel so special and decide your scriptwriter knows best?

The ending is changed and not convincing and while I can imagine Hollywood require more resolution than the original text, I don't think this was the way to go personally.

Apart from the changes, I thought most of the cast did well but were a bit too well fed and healthy for the supposed economic misery this US faced.

By 1977, Stephen King was rapidly becoming a household name, with the best sellers 'Carrie', 'Salem's Lot' and 'The Shining' making him one of the horror genre's rising stars. Success, however, brought limitations. At the time, publishers believed the public wouldn't accept more than one book a year from a single author, and King's output far outpaced that rule. To sidestep it- and to see whether his popularity came from genuine talent or just luck- he adopted the pseudonym, Richard Bachman. Bachman became both an experiment and an outlet, a shadow identity that allowed King to publish more freely without diluting the value of his established brand.

Bachman's second novel, 'The Long Walk,' was first published in 1979, though written years earlier while King was a freshman at the University of Maine. Set in a near-future America, it follows a group of young men competing in a brutal annual contest where they must keep walking above a set pace- or face execution.

A kind of science-fiction allegory for the Vietnam War draft, it resists being pinned down to a single reading, and has long tempted filmmakers. George A. Romero was first attached to direct in the late 1980s, but the project never materialized. Years later, Frank Darabont- who successfully adapted King's 'The Shawshank Redemption,' 'The Green Mile' and 'The Mist'- also took a crack at developing it, though his version likewise stalled in development. Finally, in late 2023, it was announced that Francis Lawrence had assumed directorial duties, working from a screenplay by JT Mollner.

Lawrence's film is a strong, faithful adaptation of the source material, capturing both its relentless tension and thematic depth. Although somewhat mischaracterized as a horror, the film is consistently unsettling, immersing viewers in a dystopian world where brutality and violence are commonplace. Much like the novel, it aims to explore themes of conscription, authoritarian control and the expendability of youth, while also serving as a pointed critique of capitalism and the societal pressures that pit individuals against one another.

However, while 'The Long Walk' gestures toward these themes, Lawrence rarely probes them with the depth they deserve, presenting them more as background texture than as active philosophical inquiry. For instance, the spectacle of the Walk itself is ripe for commentary on media voyeurism and desensitization, yet the film stops short of interrogating the audience's complicity or the system's mechanisms of control. It's evocative, but not especially reflective.

Moreover, Mollner's dialogue is occasionally clunky, leaning heavily on overwrought emotional beats. Characters speak less as people and more as thematic signposts, particularly in moments of tension where nuance is sacrificed to reiterate stakes we already understand. Further, the characters themselves are largely archetypal. While this mirrors King's tendency to populate his stories with familiar types, the film does little to complicate or humanize them. Motivations are thinly sketched, emotional arcs predictable. As a result, the titular walk feels less like a descent into psychological horror and more like a grim endurance test with interchangeable figures.

Beyond its narrative strengths and weaknesses, 'The Long Walk' excels in its technical execution, helping to sustain tension and immerse viewers in its dystopian world. Director of photography Jo Willems captures the relentless monotony and oppressive heat of the journey with a stark, unflinching eye. He utilises a muted colour palette- dominated by greys, browns, and washed-out greens- reinforcing the bleakness and brutality of the film's world.

Complementing the cinematography is Nicolas Lepage's minimalist, atmospheric production design. Rather than overbuilding the dystopia, he and his team suggest decay through subtle cues: crumbling buildings, cracked sidewalks, rusted metalwork. The roadside becomes a purgatory, with sparse signage and empty towns evoking both Americana and abandonment. It's not flashy, but its restraint serves the story- though some might wish for a more vivid sense of the society watching from the sidelines.

In addition, Mark Yoshikawa's editing is tight and purposeful, maintaining a steady rhythm mirroring the walk's relentless pace. Most of the film unfolds in linear fashion, enhancing the narrative's sense of inevitability- an endless march toward a conclusion that can only be grim. Jeremiah Fraites' score is subtly atmospheric, simmering beneath the surface like a pulse.

Although saddled with somewhat one-note characters, most of the cast perform admirably. Cooper Hoffman and David Jonsson, as the leading lads Ray Garraty and Peter McVries, carry the weight of the story with impressive intensity, conveying the physical strain and psychological tension of the walk with nuance. Ben Wang steals every scene he's in, while Charlie Plummer makes for an effective young psychopath. Further, Mark Hamill is a gruff delight as the constant-sunglass-sporting Major, who runs the show; someone you'll really love to hate.

In conclusion, while Francis Lawrence's 'The Long Walk' doesn't fully capitalize on the philosophical weight of its premise, it remains a gripping adaptation of one of Stephen King's most haunting early works. Lawrence's direction, paired with strong technical craftsmanship and committed performances, ensures the film leaves a lasting impression- even if it strolls past some of its deeper questions. It's a bleak, relentless journey that, despite its flaws, is a step ahead of many other King adaptations.

In the book the horror of watching young men get shot is highlighted by the unfeeling, voracious crowds lining the street, the betting rings encouraging people to gamble their savings on their favourite, the desperation of some ghouls for a ticket where they sit. This is left out of the movie and, given the lack of action in the conventional sense, I don't see why. What we get instead is a long chat.

The ending is also rewritten and is unsatisfactory in my opinion. It is an ultimately disappointing movie despite the strong cast.

Although The Long Walk does rely heavily on dialogue, its strong performances and emotional depth keep it engaging and moving at a steady pace (haha). The beautiful cinematography, stark dystopian landscapes, and a stirring soundtrack are so immersive.

I enjoyed the lack of forced world building, it gave more attention to our characters and their motivations which is I believe is the true purpose of the story.

I did feel like the pacing seemed to ebb and flow at points and did get repetitive but the slower moments were quickly redeemed by genuine heart felt scenes that hit with real emotional weight. The film's strength lies in its well-drawn characters and their real, moving relationships. This is excelled but some great performances.

However, I believe the film is inhibited by the structure and can never reach the heights of greatness but for what was available The Long Walk was an enjoyable ride.

This film is a relentless descent into tension, sorrow, and flat-out misery. To me, it had the feeling of an old war movie, with young men marching, putting one foot in front of the other, and a lot of uncertainty about what lies ahead of them. All the necessary ingredients-pride, wrath, greed, bravado, and even kindness-are showcased by a cast of outstanding young actors. You are there with them every step of the way, getting to know these characters, growing attached, laughing, weeping alongside of them, and as quickly as some are introduced, they're gone. We the audience remember why we are all here, and the walk continues with our newly found comrade being left behind. Adding to the tension is a psychotic Major who acts like a sick and twisted game show host, constantly appearing with a bullhorn to remind everyone of the deadly consequences of failing to maintain the desired pace. It's a brutal and on-brand reminder of the rules.

While the film is emotionally devastating, it is also a dystopian thriller filled with grotesque imagery. Some moments are not for the squeamish, but it's a solid, must-watch that will keep you engaged from start to finish. The compelling performances will have you constantly concerned for each character's fate.

Raymond Garraty joins a national competition called The Long Walk. The country is in financial trouble, and to be the last man standing is essentially a lottery win; however, there can only be one winner.

I read this book many years ago and was excited to see it made for the big screen; talk about long overdue! I finished re-reading it ahead of seeing the film, and the one thing you'll notice is that they've made a lot of changes, especially to Garraty, which they didn't need to because the story is good enough already.

I wasn't sure how it would translate to the big screen, but it worked very well. They managed to make the story interesting, dramatic, and added some touches of horror. The characters become more meaningful the further into the movie you get; the first few are essentially stormtroopers.

It doesn't hold back from the graphic moments; they're there to shock you, but they feel perfectly reasonable and meaningful.

I thought Mark Hamill was excellent as the Major-suitably menacing and humourless. Good performances all round.

It made me feel uncomfortable, it certainly made me feel exhausted in my comfortable chair, so for that, I'd suggest it's an effective movie. How good to see some of King's early works finding a new audience.

7/10.

The Long Walk has to be one of the best premises ever conceived by mastermind Stephen King. It unfolds into one of the most must-see, anxious, intense, brutal, engaging, and climactic stories imaginable-one that builds toward a resolution you don't want to reach, precisely because of what it means for every character.

The acting is superb across the board, led by two powerhouse performances from Cooper Hoffman and David Jonsson. Their work is especially impressive given that the film is almost entirely driven by dialogue and character interactions. This also highlights the strength of the writing-sharp, thought-provoking, and designed to linger with you long after.

Everything else matches that high standard: striking visuals, an evocative score, and some of Francisco Lawrence's best direction (second only to I Am Legend for me).

My only criticism-the ending. I wish it had been given more time, as it felt too brief.

But perhaps the scariest thing about The Long Walk is not the story itself, but how disturbingly close we sometimes feel to its premise in the real world.

The Long Walk is one of my favorite books and I have been dreaming of a movie adaptation. I felt it was promising for the first 30 minutes, mostly due to wonderfully brutal cinematography. However, as soon as the drama ramped up, actors started to overact and the whole script all of a sudden derailed into Hollywood cliche land. I felt like the movie pretty much cut out all the parts of the book I loved the most and butchered the final scenes into something completely different than the subtle but powerful book ending intended to convey.

The Long Walk is the best Stephen King adaptation in recent years. The young cast are excellent and have great chemistry with one another. The two leads Cooper Seymour Hoffman(yes, Philip Seymour Hoffman was his Dad R I P) and he has talent, just like his father had. David Jonsson who was in Alien Romulus was great as his best friend and the two of them emotionally anchor the story.

Mark Hamill was great as always, he was chilling and terrifying as the Major and very sadistic.

The movie's violence was intense as well and a hard watch.

This movie won't be for everyone but l thought it was top notch entertainment.

Go and see it,if you like a gripping thriller that keeps you on the edge of your seat.

I had read this book when it was originally published (in 1979 under Stephen King's nom de plume Richard Bachman) and I reread just last year so I knew what to expect going into this film. The story is dark and dystopian and not for the faint of heart. Plus the violence in the film is extremely graphic. But I found the acting to be superb, especially the two young lead actors Cooper Hoffman (as Raymond Garraty) and David Jonsson (Peter McVriess). Like a lot of films adapted from books there are a few changes so if you know the plot from the book you'll still have some surprises.

I gave this 7 out of 10 stars. Extremely intense and, like I said, really solid acting.

The idea itself works - no surprise, it's Stephen King, he knows how to build a premise. At first the movie even feels like it might pull it off: the suspense starts to grow, you feel the tension creeping in. But then it just... stalls. Instead of escalating, everything flattens, and by the halfway mark you can already predict how it's going to end. And it ends exactly that way. No surprise, no punch.

The characters don't help either. They're too sketchy, like placeholders rather than people. The movie tries to layer in some social commentary, but it's done through such obvious, stereotypical figures that it feels more forced than insightful. On top of that, the drama is laid on way too thick. Every "emotional" moment is broadcasted with neon signs: "Look! Here comes the sad part. Time to cry." It's manipulative rather than moving.

In the end, it's a good story wasted by a weak execution. The tension fizzles, the characters are cardboard, and the emotional beats feel staged. 5/10.

Mind you, I never read the book, so I walked in with high expectations. Unfortunately, within the first three scenes, the outcome was already far too easy to predict. Peter, for instance, never once appeared tired throughout the film-almost portrayed as superhuman-which made the suspense fall flat.

That said, the film redeems itself in other areas. The comedy lands naturally, and the cinematography is consistently sharp and engaging. In the end, while the story may have been predictable, the execution was polished enough to make it an enjoyable watch from the very first scene.

Once you've started The Long Walk, there's no stopping or turning back, no matter how brutal or uncomfortable it gets - the film leaves no option but to dig deep, push on, find the resolve, just to see who makes it to the end and who gets their brains plastered all over the tarmac.

This latest film from the mind of Stephen King is a gruelling trek that leaves the viewer drained and emotionally exhausted, as 50 young men in dystopian post-war America take part in an annual contest, a forced march with a large cash prize for whoever lasts the longest; however, those who fail to keep up the pace of 3mph are executed at gunpoint, the whole event televised nationwide.

Before I saw The Long Walk, I wondered how a film could make over 100 minutes of walking entertaining, but I shouldn't have worried: the film succeeds in being thoroughly engrossing throughout thanks to assured direction from Francis Lawrence, an engaging script, short, sharp jolts of graphic violence, and excellent performances from all involved, with Cooper Hoffman and David Jonsson leading the pack as new friends Ray and Peter, and none other than Mark Hamill as the ruthless major who oversees the walk.

My rating for The Long Walk is 8.5/10, rounded up to 9 for the unforgettable explosive diarrhoea scene.

Knowing the book, and having a chance to audition for the project - i have very mixed feelings about the movie, after seeing it.

It does well at translating the overall idea of the book and the Long Walk in general. The fear, desperation and hope all are present through a good acting and cinematic brutality. It makes an honest attempt at making us care for some of the characters, showing humanity even in the most stoic of characters. A feeling of brotherhood gets established.

However, a lot of key points from the original story were missed. From characters' behaviour and backstory to major plot points (garrity's love for his girlfriend, who was completely errased/ the full on psychotic, stick it to the man, death of Barkovitch / most and importantly the ending). I was very disappointed with the ending as they practically ad-libbed it giving a straightforward ending, whereas in a book it carries more mystery and weight.

All in all, I believe that it was an okay attempt at adapting the book where everything happens during a literal long walk. For the movie format, you need to pick your battles when it comes to the source material, but still it might have worked better as a limited series - it would have allowed to create more tension, allow the audience connect more and be closer to the source material.

Up until last year, I'd never read a Stephen King book, and now I've almost got through them all. The Long Walk came after The Stand, It, and some of The Dark Tower books, but it was pretty high priority-wise, since it's one of his first-ever published stories. And so it was neat to come into this being familiar with the story, and also just curious as to how they'd translate something so miserable, violent, and one-note to the big screen.

Not one-note in a bad way. The source material is well-paced, even if it's just people walking. It felt like that wouldn't really translate super well, though, unless some changes were made, and I think I just expected them to change things up quite a lot. So it's a relief to find they didn't, and The Long Walk adaptation commits to the premise almost entirely. There are some changes, but the core is the same, with the walk starting almost straight away, diversions from the competition at hand being minimal, and the whole thing just moving forward continually.

They didn't shy away from that grueling repetition, nor the savageness of the book, and I appreciated that. This is directed by the guy who did all but one of the Hunger Games movies, so I half-assumed they'd water down The Long Walk, or make it teen-friendly, and they really didn't. It ends up being engrossing in the same ways the source material was. There are also some eye-catching shots here, and most of the performances are good (Judy Greer lays it on a bit thick). Some of the abrupt violence is effective, especially the first properly shocking thing that happens, but there's a brief flashback where the abruptness of a violent act felt a bit comical... but the non-walk stuff is kept to a real minimum.

It's a very good movie. It's not a fun time, but it's engrossing and well-made, and it had to be kinda the opposite of fun to be an effective adaptation.

The Long Walk (2025), directed by Francis Lawrence, is an unsettling blend of horror, sci-fi, and dystopian thriller that asks a haunting question: how far would you go, and is it really worth it? Adapted from Stephen King's 1979 novel written under the pseudonym Richard Bachman, the film carries forward the author's raw and uncompromising vision but introduces a few fresh angles that make it stand apart from the source material.

The story centers on a brutal contest where teenagers are forced into a life-or-death march. The rules are terrifyingly simple-keep walking, or be executed by the military escort shadowing their every move. Cooper Hoffman takes on the role of Raymond Garraty, with David Jonsson as Peter McVries, and both deliver grounded performances that capture the emotional and physical toll of this relentless ordeal. The supporting cast of young actors also does justice to their roles, though it's the intense premise that truly drives the film forward.

Interestingly, the movie does not stick entirely to King's bleak, solitary meditation on survival. Instead, it explores themes of love, sacrifice, and rebellion against oppressive authority. This shift might divide audiences-purists may miss the unrelenting despair of the book, while others may find the added emotional arcs more relatable and cinematic. One cannot ignore the eerie similarity to Suzanne Collins' The Hunger Games. In fact, this adaptation makes it even clearer that King's novel might have been a twisted inspiration behind Collins' dystopian saga.

From a technical standpoint, the film holds steady. Lawrence's direction ensures that the pacing never falters, and J. T. Mollner's screenplay balances brutality with emotion. The cinematography captures both the vast, desolate landscapes and the suffocating intensity of the march, while the editing and background score add to the film's oppressive atmosphere. Though performances are fairly good, it's really the mood and narrative weight that carry the film.

Overall, The Long Walk is gripping, gruesome, and deeply emotional. While not flawless, it succeeds in making viewers question endurance, humanity, and the cost of survival. For thriller and dystopian fans, it is worth the watch.

Rating: 7/10.

Adapted from one of Stephen King's darkest novels, The Long Walk takes us through a post-war alternative America, marked by the rise of a fascist regime, where a group of young men is forced to enter a cruel contest: keep walking without pause, at a minimum speed of 5 km/h. Slow down or quit, and you're executed. The "reward" for the last man standing? Wealth and a single granted wish.

At first glance, the premise may remind you of The Hunger Games or Squid Game, but this film quickly makes it clear it's going in another direction. There are no cartoonish villains sabotaging rivals, no overblown plans of rebellion against the system. Instead, what we get is something rawer, more human: every participant carries with them traumas, fears, and motivations we can understand. Even the most unpleasant ones earn our empathy, and that's what makes this journey so painfully human.

Over the course of two hours, we accompany this endless march and, step by step, we come to know each character deeply. The dialogues are sharp, gradually revealing their lives and scars. And when one of them falls, it isn't just another elimination, it hits hard. At some point, I realized I didn't even know who I wanted to root for, because the truth is, I wished they could all survive and keep searching for hope in the middle of that nightmare.

Don't expect large-scale action scenes. The pacing is contemplative, but it never feels stagnant. The constant shift in landscapes, the underlying tension, and, above all, the emotional bond we build with the walkers keep us glued to the screen. Still, a fair warning: if you go in expecting an adrenaline-fueled spectacle, you'll be disappointed. The Long Walk isn't about bullets or explosions, it's about endurance, humanity, and fragility.

By the end, I was left with the feeling that I had witnessed not just another Stephen King adaptation, but one of the most striking films of the year. It's a story that lingers, that forces us to reflect on ourselves, and one that I know will stay with me for a long time. For me, without doubt, one of 2025's very best.

I've wrestled with this film for days, and I've come to a strange conclusion: I both admire it deeply and am frustrated by it. This isn't a movie that wins you over with its world-building; it wins you over in fleeting, powerful moments of human connection, despite a premise that falls apart if you think about it for too long.

Let's get the big flaw out of the way first: the world makes no sense. The economic, political, and historical logic behind "The Long Walk" is a house of cards. A society that systematically destroys its youth in a annual ritual is a society on a fast track to collapse, not a stable, if brutal, nation-state. As a piece of dystopian science-fiction, its foundation is weak. I found myself laughing at the sheer absurdity of it at times.

BUT... and this is a huge "but"... the film soars in its humanity.

The central, unlikely friendship that forms between the two leads is the beating heart of the story. In our current era of real racial tension, seeing a Black man and a white man find genuine brotherhood and compassion in the face of a system designed to crush them both is a powerful and moving message. It feels like a radical act of hope.

Mamoudou Athie, in particular, gives an Oscar-worthy performance. His portrayal of existential exhaustion, fleeting joy, and deep-seated trauma is raw and unforgettable. He is the soul of this movie.

His casting, however, also brings up a more complex, real-world layer. As a Foundational Black American (FBA) viewer, I couldn't help but feel the irony. Here is a film about a system that grinds up diverse individuals for the benefit of a white power structure (brilliantly symbolized by the General), and yet, the casting of a non-FBA actor in this pivotal role mirrors a real Hollywood system that often sidelines the specific stories and heritage of descendants of American slavery. It's a painful meta-commentary that, unintentionally, makes the film's critique even sharper.

Verdict: The Long Walk is a fascinating contradiction. It fails as a logically sound dystopia but succeeds as a poignant allegory for brotherhood, systemic oppression, and the human spirit. Don't watch it for the "why." Watch it for the "who." Watch it for the breathtaking performances and the profound emotional truth that emerges from its flawed, illogical nightmare. It's a film I can't fully believe in, but one I will not soon forget.

It was an ok movie, too much missed potential as they could have done so much more. More talking than action. There was no moments that really hit you and it felt kind of repetitive and you could see how the story would go from the beginning. A lot of things were out of nowhere, ofcourse people die but some of them the way they go out just has no substance, and there's no real twist that takes place. You know how most movies have a crisis in the middle that needs to be overcome? This movie doesn't have that. The ending was super annoying also and contradicts what was preached throughout the movie. I watched this based on the 7*+ ratings, but in my opinion it doesn't match up to any 7* movie I've ever seen, hence the rating.

THE LONG WALK (2025) ** Cooper Hoffman, David Jonsson, Garrett Wareing, Tut Nyuot, Charlie Plummer, Ben Wang, Jordan Gonzalez, Joshua Odjick, Mark Hamill, Judy Greer, Josh Hamilton. Exhausting adaptation of Stephen King's dystopian novel about a violent contest involving the titular event with a group of teenage boys who must compete to complete with one participant left alive whereby if they don't continue to walk as designed they will be shot. A little goes a long way more than meets the eye in this very treading in deep waters of darkness as a life metaphor yet Hoffman & Jonsson's bonding ala 'The Defiant Ones' keeps the momentum going despite its set in stone proceedings at hand.

The movie hits like a gut punch. Brutal, unrelenting, and strangely beautiful-I came away numb, but in awe.

It's superbly written and brilliantly acted, all the more impressive given that almost the entire film takes place on the road. The premise is simple and clear from the start, but the real hook is the characters. You find yourself attached almost instantly-some you like straight away, others not at all-until they reveal their true selves, and suddenly you can't help but care for them.

At first, I saw it as a terrifying mirror of where the world could be headed. A dystopia where survival is reduced to endurance, where the system can't sustain everyone, and where lives are stripped down to a brutal contest of who can keep going the longest. It's a chilling thought, and one that feels uncomfortably close at times.

But somewhere along the way, the film became less about how scary the world might become, and more about how to get through it. What really struck me is that those who seem most at peace near the end of their journey aren't the strongest, the fastest, or the fiercest competitors. They're the ones who care for others, who seek genuine friendship, who invest in the people around them. That's what makes the walk bearable. That's what makes it meaningful.

And here's the kicker: whether or not you would choose to play the game in The Long Walk, you're already playing a version of it. We're all walking, step by step, burning energy to stay in the race. We push forward, hoping to outlast, to achieve, to matter-knowing full well that the finish line is the same for everyone.

The only real question is: how do you choose to walk your walk?