The Long Walk novel should be impossible to adapt into a film. At its core, it’s about a group of young men (but really boys) walking at gunpoint until only one remains. That’s it. OK, that’s not entirely it, but its structure creates obvious challenges for a medium that implies more dynamism.
And yet, it's one of the most compelling films I’ve watched all year.
The film adapts Stephen King’s first-written book (though not his first-published) of the same name. Both the book and film are set in a world where the United States is under totalitarian rule, poverty is rampant, free speech and thought are suppressed, and a brand of patriotism (that feels frighteningly familiar) is obligatory. It is this set of conditions that allows for—or perhaps makes inevitable—the annual Long Walk to be seen as an honored tradition. The rules are simple: walk at a steady 3 mph or die. The last boy standing is rewarded with unimaginable wealth and one wish of his heart’s greatest desire.
On the page, with the help of internal dialogue, it’s spellbinding in execution (often literally). But recreating that kind of magic on screen is an entirely different beast.
And yet, director Francis Lawrence (The Hunger Games) and writer TJ Mollner (Strange Darling) somehow create the alchemy of heart and terror to conjure up much of that same magic on screen. They succeed in crafting a film that makes watching young men quite literally march to their doom—while cracking jokes and eventually cracking apart—some of the most gripping storytelling you’ll see all year.
In no small part, this comes down to the film’s cast. Central to the story is Raymond Garraty, aka #47. Ray is instantly likable, as played by Cooper Hoffman, who infuses the character with everyday boyish charm. Ray looks both like the boy next door and like the American cousin of Kit Connor, and much like Nick in Heartstopper, there is vulnerability and sweetness that shines through. Except that just below the surface lies a well of trauma—not only the loss of his father but also the daily grinding anguish that comes with living under authoritarian rule.
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And he’s not the only one. Ray is surrounded on the road by young men—really just barely on this side of boyhood—who may be packing light for their journey, but are heavily weighed down by emotional baggage: poverty, guilt, mental illness, or worst of all, hope.
Walking alongside Ray is Peter McVries, aka #23, played by David Jonsson. He infuses him with the kind of charisma that, in another world, would have made him a superstar or a world leader. But here, he is just a boy walking to what is most likely his death, carrying dreams of making the world a better place. To say Jonsson steals the show would do Hoffman’s performance a disservice, but it’s clear audiences are watching the origins of a future Oscar winner. His ability to imbue characters with a sense of lived-in humanity (as he did in Alien: Romulus last year) is thrilling to see and succeeds in ratcheting up the film’s stakes.
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Along with the boys, the film boasts two more performances worth highlighting. First is Judy Greer, who stars as Ray’s mother. We meet her as she is saying—what statistically will be—the last goodbye to her only child. Most know Greer for her comedy chops, but here she has the opportunity to show off another aspect of her skills, with a heart-wrenching performance as a mother reluctantly seeing her son set off on a death march.
Then there is Mark Hamill, who takes on the role of The Major. If all the other characters are grounded, Hamill is the antithesis. His high-camp mustache-twirling villainy may at first seem out of step with the gritty realism around him. But as the film marches on, it becomes clear that there is more happening here. His gun-toting machismo is a parody of the performative patriotic posturing that has become all too common in the halls of our government and across social media. It highlights how authoritarianism is both monstrous and clownishly absurd. And there is poignancy in seeing the same actor who once played Luke Skywalker—the archetype of the rebel hero—reduced to this.
Mark Hamill as The Major in The Long Walk.
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There is no doubt that the film’s greatest strength is in its characters and cast. Each boy is distinct and well fleshed out, with motivations revealed as the miles tick by. Their humanity only makes more exquisite the pain as each one’s walk comes to a bloody end. And make no mistake: this film is unflinching in its depiction of violence, as well as the horrifying breakdown of the human body when pushed beyond its limits.
It has also hit theaters at the perfect time, when its themes—originally intended by King to critique the Vietnam War, and more specifically the draft—resonate differently today in the current political climate. The authoritarian government that once felt distinctly dystopian now feels frighteningly near and far less satirical.
Charlie Plummer as Barkovitch, Garrett Wareing as Stebbins, Cooper Hoffman as Carraty, David Jonsson as McVries, Ben Wang as Olson, Tut Nyuot as Baker, and Joshua Odjick as Parker in he Long Walk.
Murray Close /Lionsgate
The boys marching toward inevitable gun deaths while a military leader, safely ensconced in a jeep and heavily armed, jeers and spits patriotic propaganda—well, that lives in our phones and in the nation’s capital. The slack-faced poor, disenfranchised families watching from the side of the road as the boys march by mirror how many remain silent now, watching from the sidelines as the slow, unabated march toward fascism and authoritarian rule grinds on.
And a world where freedom is a crime and independent thought means toeing the party line—well, it’s hard not to feel we’re just about there right now. That this movie is timely is not in question. That it has remained timely for 46 years speaks both to why it’s one of King’s greatest and why we need stories like this to shake us to our core.
But, is it gay?
Murray Close
OK, so The Long Walk is great, but is it gay? Good news: it is. Aside from the simple joy of seeing our beloved Judy Greer on screen, there is queerness to be found throughout. For instance, the film also stars trans actor Jordan Gonzalez as Richard Harkness, aka #49, an aspiring journalist with dreams of telling the story of The Long Walk from the inside.
But textually, there is one particularly poignant queer moment. While subtle, at one point, Peter casually comes out to Ray when asked about having a girlfriend. It’s a quiet moment, rife with meaning for the boys. It also works in contrast to the casual homophobia hurled around by the other boys in paroxysms of performative bravado. After this, the two grow closer, creating an intimate—if platonic—bond. Ultimately, the film becomes a kind of love story between the two, as they march toward what can only be a tragic ending.
The Long Walk is King at his very best: rife with characters to ache for and to despise, with shocking moments of depravity and transcendent humanity. The sacred and the profane, all wrapped up into an anti-fascist cautionary tale. It’s like the feel-bad movie of the year—and that’s high praise.
The Long Walk is in theaters now. Check out the trailer below.
Reed Birney as Hank Grant and Kieron Moore as Aaron Eagle in Blue Film.Fusion Entertainment
Kieron Moore as Aaron Eagle in Blue Film. Fusion Entertainment 
Reed Birney as Hank Grant in Blue Film.Fusion Entertainment
Kieron Moore as Aaron Eagle in Blue Film. Fusion Entertainment 
Reed Birney as Hank Grant in Blue Film.Fusion Entertainment
Director Elliot Tuttle at the premiere of Blue Film at 2025 NewFest at SVA Theater in New York City.Rob Kim/Getty Images
The official poster for Blue Film.
