Movie Review: The Long Walk

BY: JOSHUA ST. HILL / STAFF WRITER

While this article attempts to avoid spoilers when possible, the exploration of the film’s themes will inherently spoil some plot events of the film.

(Photo Credit: The Boston Globe)

Stephen King’s collection of literature has served as an excellent source for film adaptations, decade after decade. Their cinematic efforts hold a mirror to the humanity in us all, earning critical acclaim (The Shawshank Redemption, The Green Mile, Stand By Me) and becoming pop culture classics. 

While the subjectivity regarding his work varies, there’s enough out there to recognize the potential of a great film or a misfire. The Long Walk reminds us how effectively King’s tales resonate with American issues, but certain adaptational changes hold it back from being an undeniable classic.

 Ground-breaking performances, immersive cinematography, and intentional pacing are aspects of the film that pull viewers in 75 percent of the way. Yet, adaptational choices leave us with an ending that isn’t conclusive, but annoyingly ambiguous. 

The walk is set across the state of Maine in a dystopian America, similar to that of The Hunger Games or Fahrenheit 451. Director Francis Lawrence’s (The Hunger Games) familiarity with these settings allows him to showcase his attention to detail through the lens. He brings color to bleak settings, foreshadows through framework, and continuously tells a story within a story.

 Beginning with Ray (played by Cooper Hoffman) and his mother driving to the competition, the silent tension between the two does a great job of setting the somber tone. Ginny (played by Judy Greer), Ray’s mother, has a broken relationship with her son for the entire hour and 45 minutes; she’s not given much to work with other than meek dialogue and hysterical outbursts. It is the only questionable performance in the film, which otherwise is compiled of beautiful acting. 

The story itself could be a picture of our American future in the next quarter-century. The Major (played by Mark Hamill) is a dictator, ruling a country through influence, banishing the liberal arts, and mass genocide. So why are the people being ruled so welcome to it? Nobody dares to question the regime, the catalyst for the first adaptive change.

 Ray’s character in the book doesn’t have the spine that he holds in the film. His motivations are empty, leading him to ultimately lose his sanity after winning the competition. The film gives him the ambition to win so that, instead, he can murder the major and inspire a revolt. It mirrors those who question the authority of today, from the banning of books to the ignorant mishandling of immigration. Can revenge truly solve anything, though?  Pete (played by David Josson), another walker in the competition, shines for the majority of the story based on this question. 

The relationship between Ray and Pete is what holds the story together. Their growing bond inspires camaraderie amongst other walkers, challenging the status quo of the rat race. Specifically, Ray, Pete, Olson (played by Ben Wang), and Art (played by Tut Nyut) form the closest bonds, donning themselves as the four musketeers. One of the highlights of the film is the writer’s ability to make us forget that possibly all four of them will die. 

When Pete learns of Ray’s wish, he’s against it - if revenge is your goal, instead of recognizing the beauty in the world and using your power to do something, then you’re a hypocrite. He forces Ray to look inside himself, questioning the selfish nature of the decisions he’s made. All of this buildup pushes the story forward, which is why the ending is so disheartening.

Ray and Pete are the final two walkers, playing a game of back and forth: who is going to sacrifice themselves so the other can win? Ray (adaptational change), decides to sit this one out, dying by The Major’s hand. The motivation behind Ray’s decision is that Pete still retains his optimism despite his desolate reality. This is the climax; whatever Peter wishes for will bring the story together. So, when that wish is the exact thing he advised Ray not to do the entire movie (Pete kills the Major), it feels like a giant slap in the face. Pete’s decision doesn’t say anything. The film, in fact, heavily implies that killing the major would change nothing. So, what conclusion do we actually have after all those miles traveled? 

While The Long Walk continues the tradition of making meaningful King adaptations, its most significant changes from the source material don’t incorporate better ideas; they simply give the audience a mirror with no real solution. The strong performances, beautiful imagery, and amazing score all build up into an ending that lacks conclusivity. It is still worth watching for the portrayal of authentic brotherhood and perseverance, but don’t expect to leave with full clarity. 

Overall: ⅘ stars.