The Long Walk

I think few writers have given cinema more material than Stephen King. As I searched for the exact number, the best I could find is about 55 feature films and counting—and that doesn’t even include the small-screen adaptations. King has written plenty of novels and short stories, and we’ve now reached the point where some of his tales that already had features are being remade. Not all have been equal—some are straight-up forgettable—but 2025 has been a strong year. The Monkey and Life of Chuck have already come out, with The Running Man and The Long Walk still to go. In other words, it’s good to be the King. Of those, The Long Walk has been the one I’ve anticipated the most, and I can say I made the right choice.

Times have changed in this story’s America, where every year all the states send one boy to represent them in The Long Walk. Fifty boys are chosen, and each must walk at a steady pace of three miles per hour. There’s no finish line—only one victor: the last walker still standing. The winner receives a fortune and a single wish that can be granted for anything they want. But this isn’t really voluntary—it’s more draft than choice.

Among the large group, we mainly follow a handful of characters: Raymond Garraty (Cooper Hoffman), Peter McVries (David Jonsson), Stebbins (Garrett Wareing), Hank Olson (Ben Wang), and Arthur (Tut Nyuot). Together—minus Stebbins—they form a “one for all” bond. But the rules are cruel: fall behind or slow down too many times, and after three warnings…you’ll never walk again. The choices these boys make along the way change everything.

Adapted by JT Moliner from King’s novel, The Long Walk isn’t heavy on commentary about the country, outside of the images we see. Instead, it’s all about the walkers themselves. Making a film about walking doesn’t sound thrilling, but Moliner’s script leans on dialogue to set the pacing, trusting the audience to stay hooked because of the characters. While it may not always be riveting, suspense builds in waves—and when paired with director Francis Lawrence’s use of violence, it keeps you constantly on edge.

The Long Walk sustains a sense of dread from beginning to end, making it one of the strongest King adaptations to date. It’s a film that leaves you hollowed out, and while some may find it too grueling to endure, those who stick with it will carry it with them long after the walk ends. Lawrence wisely avoids spectacle, instead focusing on atmosphere and patient storytelling. Still, it’s the cast that pushes the film into greatness.

Everything rests on Hoffman and Jonsson, and their chemistry makes or breaks the film. Thankfully, it’s fantastic. Their conversations—often about mundane things—reveal character backstories while deepening the bond between them. Hoffman’s Garraty is the emotional anchor, keeping tension high with his drive to endure. Hoffman is excellent, but Jonsson is the real discovery here, bringing humanity and a raw honesty to the screen.

I’ve never read the original book—and you don’t need to either. The Long Walk is meticulously crafted and keeps your eyes glued to the screen. But the real reason to see it is the performances, which shine as the brightest light in this bleak and haunting world.