Francis Lawrence’s adaptation of the Stephen King novel strips many of the King-isms and old cultural touchstones to make the story more relevant to today.
The film hinges upon a similar premise to that of “The Hunger Games,” a deadly competition of youth with the promise of affluence as the prize.
Adaptations of Stephen King’s books have long been integral to the makeup of horror cinema. Films from “Carrie,” to “The Shining,” to “It” have had a lasting impact on the film industry, pushing the boundaries of what audiences will fear.
“The Long Walk” continues this proud tradition, but now the horror comes not from jump scares, but the unsettling parallels to our current society.
In a dystopian world, men sign up for a competition where they must walk for as long as they possibly can for a prize of cash and a single wish, but if they stop they are shot dead. The film makes it clear no punches will be pulled; some characters have no idea what they are in for, others have nothing to lose, and all but one must share the same deadly fate.
To cope with this near certain outcome, some characters try to numb themselves, some break because of it, some try to rebel against the system, but all carry the weight of loss as the walk continues.
The filming process was physically intense, requiring the actors to walk a significant distance to create a more real feel: something essential to investing the audience in the game. This realism makes it all the more unnerving.
The cinematic language of the film is fairly standard, none of the shots will truly blow you away, but this is used advantageously. The standard shot selection keeps viewers immersed and amplifies the existential dread.
Despite the bleakness, hope is maintained throughout due to excellent character work and writing.
Peter Hoffman and David Jonsson wonderfully play Raymond Garraty and Peter McVries, respectively, and these performances work to highlight the friendships forged in fire. Both portray quick friends with vastly different reasons for joining the walk, yet together they carry each other further than either could go alone.
Though forced to root for each other’s downfalls, the two do not abandon their humanity. Instead, they form bonds with others, showing that even in hopeless scenarios, despite systems designed to pit people against each other, compassion and connection remain. This is the film’s foundation: even in the darkest times, humans still reach for each other.
As is repeated throughout, Lawrence’s adaptation invites the viewer to “walk with me a little longer.”