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Movie Review

The Long Walk mines early Stephen King novel for a modern-day message

Alex Bentley
Sep 11, 2025 | 3:23 pm
Cast of The Long Walk

Cast of The Long Walk, including stars Cooper Hoffman and David Jonsson (center).

Photo by Murray Close/Lionsgate

2025 has been an impressively prolific year as far as Stephen King adaptations go. The year has already brought the horror film The Monkey (based on a 1980 short story) and the sentimental The Life of Chuck (based on a 2020 short story). Now comes The Long Walk, another film that digs deep into King’s prolific archive, with the original book (under King's pseudonym, Richard Bachman) coming out in 1979.

In the world of the film, young men from all 50 states volunteer for a lottery to compete in a competition called The Long Walk for a chance to win a large cash prize. The catch is it’s not a race, but rather a feat of endurance, as every participant must maintain a speed of at least 3 miles per hour until only one person remains. Those who are unable to do so are given a series of three warnings until they are finally - and brutally - shot.

Among the participants are Raymond Garraty (Cooper Hoffman), who happens to come from the state where the competition starts; Peter McVries (David Jonsson), an affable and confident guy; Gary Barkovitch (Charlie Plummer), who seems to antagonize everybody he meets; and Hank Olson (Ben Wang), a mouthy kid who teams up with Raymond and Peter. All the while, the group is urged on by The Major (Mark Hamill), who seems to take great pleasure in their suffering.

Directed by Francis Lawrence and written by JT Mollner, the film mostly consists of conversations between the participants in the competition, with the occasional killing underscoring the intensity of what they’re doing. Much of the dialogue is between Raymond and Peter, who become fast friends and share thoughts that are both practical and philosophical. The walk literally never stops, so there’s a natural propulsiveness to the story even during scenes that feature nothing but talking.

The details of the story can be a tad confusing, though. The film is clearly set at some point in the mid-20th century, as all of the vehicles come from that era and the young men all wear clothes and shoes that are far from modern. But they also live in a dystopian, financially-strapped world where every young man feels he has no choice but to enter a lottery for a competition in which he will most likely die. The alternate universe reality takes some time to get used to.

Lawrence, who has directed every Hunger Games film, is right at home pitting a group of young people against each other in a televised spectacle that can feature graphic violence. If you so choose, the film is easy to read as a commentary on the current state of the world, where the themes of the story lie closer to reality than perhaps even King could predict.

In a short career that has included films like Licorice Pizza and Saturday Night, Hoffman has already proved himself as a worthy successor to his late father, Philip Seymour Hoffman. He has a natural empathy in his acting that draws you in, and a talent that pulls the most out of every line. Jonsson is his equal and perhaps even more compelling here, as the English actor uses a mumbly voice and squinty face to great effect.

There’s not much to The Long Walk other than walking, talking, and killing, but it still makes for an intense experience that rises above its simplicity. It’s difficult to classify a film like this as “entertainment,” but the performances of Hoffman, Jonsson, and others make it a great watch despite the cruelty.

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The Long Walk opens in theaters on September 12.

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Movie Review

Horrific filmmaking makes DC villain Clayface less appealing

Alex Bentley
Oct 22, 2026 | 1:01 pm
Tom Rhys Harries and Naomi Ackie in Clayface
Photo by Parisa Taghizadeh
Tom Rhys Harries and Naomi Ackie in Clayface.

The history of DC Comics in movies has been hit-and-miss, especially when it comes to anything not directly involving Batman or Superman. Over the years, films have been headlined by heroes like Catwoman, Green Lantern, Aquaman, Shazam, the Flash, and more, and while some succeeded, none left a lasting mark on moviegoers’ imaginations.

Much like they did with Joker, the powers-that-be behind DC Studios productions are trying to entice viewers with a no-holds-barred story in Clayface. Matt Hagen (Tom Rhys Harries) is an A-list movie actor with both critical and commercial appeal. Unfortunately, a night of celebration for his recent Oscar nomination leads to him sleeping with Theresa (Ruby Sear), the girlfriend of Markos Szabo (David Dencik), a prominent mobster in Gotham City. Markos then enacts revenge by taking a razor to Matt’s face.

Desperate to find a way to look like his old self again, Matt seeks out Dr. Caitlyn Corr (Naomi Ackie), who’s conducting cutting-edge nanotechnology research that can heal any kind of damage. While the solution works on Matt, it also has the side effect of his body doing unintended things, even morphing into those with whom he comes into contact. After initially struggling with his new body, Matt decides to use his powers to enact revenge on those who’ve done him wrong.

Directed by James Watkins (Speak No Evil) and written by Mike Flanagan (The Life of Chuck) and Hossein Amini, the film is only intermittently entertaining as it tries to sell its ridiculous premise. Right from the start, it seems like the filmmakers have been given a limited budget, as everything from the sets to the CGI to the stilted dialogue feels cheap. For a film coming from a major studio, the whole thing comes off as schlocky and undercooked.

Watkins and his team try to make up for that shoddiness by delivering R-rated thrills like nudity and body horror, but those elements can only distract for so long. Much of the film is spent dealing with Matt’s trauma, and the downbeat nature of his body issues combined with very little action makes the movie not very fun to watch. The film also tries to make hay with more than a doctor-patient bond between Caitlyn — who has a boyfriend on the police force — and Matt, but like the most of the film, it never connects.

It’s not until the final third of the movie that the filmmakers land on the tone they should have been using the whole time. Matt’s ability to transform himself, while illogical and confounding, provides multiple over-the-top, funny moments and some legitimately creative kills. Instead of taking forever to set up Matt/Clayface’s origin story, Watkins and his team should have just cut to the chase and let him loose to see what the character could truly do.

This is the first big role for Welsh actor Harries, and while he’s not exactly magnetic, he proves himself worthy of the lead role. Ackie is also fine, but after several years of trying to advance up the Hollywood ladder, she may be running out of time to show she’s a star. The supporting cast has a couple of familiar faces, but it’s mostly lesser-known actors who do nothing to indicate they deserve bigger showcases.

It’s difficult to imagine any non-DC Comics fans having a strong attachment to the character of Clayface, and the film fails to make the case that he should be a continuing character. The poor quality of almost everything that appears on screen is indicative of the kind of effort and money that was put into the film, and sometimes you really do get what you pay for.

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Clayface opens in theaters on October 23.

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