“The Long Walk,” adapted from Stephen King’s 1979 novel, follows a group of men who participate in a high-stakes contest where they must continuously walk or be shot.
If there’s ever been a film that inspired a true love-hate reaction, it’s “The Long Walk.” Some moments are powerful and emotionally resonant, while others are flat and frustratingly written.
Director Francis Lawrence captures King’s trademark dread and moral stakes, but struggles to translate his dialogue-heavy prose to the big screen.
A Dialogue Problem
Much of the film’s trouble comes from its dialogue. Cooper Hoffman (Raymond Garraty) spends much of the runtime forced to repeatedly say other characters’ names, over and over, as if the script couldn’t trust the audience to follow along. This choppy, unnatural approach drags down otherwise strong scenes.
Even in the film’s most dramatic beats, the problem lingers and undercuts the impact.
Despite the script, Hoffman still brings charm to Raymond. It’s David Jonsson (Peter McVries) who truly steals the show, however. Following “Alien: Romulus” and now “The Long Walk,” Jonsson is establishing himself as someone to watch. Every line he delivers carries weight and emotion, making Peter feel whole even with limited backstory.
Jonsson’s Peter becomes the emotional heartbeat of the film – a source of light amidst pain, struggle and tragedy. His presence adds depth and authenticity to scenes that might otherwise falter.
Brotherhood and Brutality
“The Long Walk” wastes no time diving into its central story. The opening throws viewers directly into the contest and spends its first third examining characters through conversations. Unfortunately, that’s also where the script feels weakest, with much of the poor dialogue front-loaded into this section of the 108-minute runtime.
Once past its early missteps, however, “The Long Walk” becomes a riveting journey. Brotherhood and friendship rise from the brutality, infusing a hopeful energy into the grim premise. The movie lingers on torment only to offer a glimmer of humanity in the next shot.
The bond between Raymond and Peter anchors the story, alongside the self-proclaimed “four musketeers.” Even with minimal backstory or lore, the film somehow makes you care about every participant. Raymond and Peter’s relationship, in particular, helps the film feel emotionally complete despite its flaws.
Still, “The Long Walk” doesn’t shy away from brutality. It knows when to show gore and when to hold back, allowing sections of the story to breathe and others to shock. This balance creates an unsettling atmosphere that rarely lets up.
A Rushed Finish
The film is also beautiful to look at, bolstered by a striking score. Set entirely in rural landscapes, it captures the stark beauty of open land as minds and bodies unravel. The music swells at just the right moments, highlighting both the pain and the fleeting hope.
Unfortunately, “The Long Walk” builds to its ending only to rush through it. The final 10 minutes blur past, leaving little to show for the buildup. Combined with the repetitive nature of its premise, the film struggles to fully sustain its feature-length format.
“The Long Walk” has the right ingredients – committed performances, beautiful visuals, emotional depth – but doesn’t always know what to do with them. Weak dialogue and a hurried ending weigh down its best moments. The film is a true mixed bag, but its highs still rise slightly above its lows, allowing it to stay afloat.
Rating: 2.5 out of 5
