By Jon Donnis
Francis Lawrence’s 2025 take on Stephen King’s novel arrives with a premise as harsh as it is simple. Fifty boys are forced to walk until only one is left standing, watched by soldiers and a hungry crowd. That single idea drives the entire film, giving it a mood that is bleak and unrelenting.
The acting is where it shines. Cooper Hoffman carries the story as Ray Garraty, bringing a mix of grit, exhaustion and quiet decency that feels completely real. When the focus narrows to small exchanges between the walkers, those moments land because Hoffman gives them a weary sincerity. The rest of the cast are fine, and the rare flashes of camaraderie among the boys provide the only real warmth.
Beyond that the positives thin out quickly. Once you grasp the rules of the Walk there is little left to uncover. The film stretches the concept to nearly two hours, and the pattern becomes predictable. A death, a burst of grief, a bit of talk, then more marching. The cycle repeats until the sense of tension gives way to a dull rhythm.
The lack of surprise is another drag. Key events unfold exactly as expected, draining the big moments of impact. The bleak tone, effective at first, slides into monotony. Even strong performances cannot disguise how thin the material feels. Scenes often play like filler rather than character study, and the story cries out for a tighter format that could deliver the same punch in half the time.
There is a grim honesty to the film that may appeal to anyone who prefers their dystopia stripped of polish. But it misses chances to explore its own premise or build a deeper emotional arc. What might have worked as a sharp forty-minute piece feels stretched and weary as a feature.
The Long Walk boasts a superb lead turn and commits fully to its grim vision, but it drags far too long and offers little that surprises. I left impressed by Hoffman and frustrated by how little else it achieved. My score is 4 out of 10.
In cinemas now.
On Digital Soon
