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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

New film I Want Your Sex somehow makes kinky activity boring

Alex Bentley
Jul 31, 2026 | 12:45 pm
Cooper Hoffman and Olivia Wilde in I Want Your Sex
Photo courtesy of Magnolia Pictures
Cooper Hoffman and Olivia Wilde in I Want Your Sex.

Writer/director Gregg Araki has been making provocative movies for nearly 40 years, releasing his debut - Three Bewildered People in the Night - in 1987. Most of them have had plotlines that revolved around sex in one way or another, and for his latest - his first film in 12 years - he’s putting it right there in the title, I Want Your Sex.

Elliot (Cooper Hoffman) is an aimless twenty-something who can’t even afford the rent for his apartment with best friend, Apple (Chase Sui Wonders). Thankfully, he finds a job at the gallery of artist Erika Tracy (Olivia Wilde), who is open with her sexuality both in her artwork and in her day-to-day life. That soon includes Elliot, whom she convinces to enter into a dominant-submissive relationship with her, with sessions taking place both at work and her home.

Elliot, who’s in a going-nowhere coupling with Minerva (Charli XCX), is more than willing to participate, both because it lets him feel something he doesn’t get normally and because Erika offers a perspective on sex that’s much different from people of his generation. But as he gets in deeper with her, he starts to lose a sense of himself, going down a path in which he finds himself talking to police detectives Zem (Johnny Knoxville) and Zola (Margaret Cho).

Araki does his level best to make I Want Your Sex into a broad comedy, and early on it seems as if he might succeed. The deadpan way that sexual objects appear in the film (a penis-shaped rug in Elliot and Apple’s apartment, a vagina artwork with chewed gum as the medium) make for amusing sight gags. He also makes Elliot the bewildered other in multiple twosomes, with Minerva being the funniest, as she’s way more interested in studying than his ham-fisted attempts at sex.

It’s clear that Araki wants the film to be a commentary on the generational differences about sex, but he fumbles his own idea. It starts with an on-the-nose conversation between Erika and Elliot, and continues with the various dalliances, which seem to be more about making Elliot look and feel ridiculous than giving true insight. Their encounters certainly open his mind about what sex can be, but their one-note nature makes them repetitive and frankly boring, odd considering the acts in which the two engage.

The uninspired storytelling makes the 90-minute film drag way more than it should. Araki includes a few other characters to try to vary the tone of the film, including gallery workers Zap (Mason Gooding) and Vikktor (Daveed Diggs), but their early promise yields little results. The framing device of Elliot’s interview with the detectives never works, especially because Araki completely neuters the personalities of Cho and Knoxville for seemingly no good reason.

The cast as a whole goes to waste. Hoffman is showing the promise of his late father (Philip Seymour Hoffman), and even though he’s appealing here, the material pulls him down. Wilde just made her own provocative movie about sex (The Invite), and this one pales in comparison despite her heightened performance. Wonders, Charli XCX, and Gooding are all young stars who deserve to be showcased much better than they are in this film.

A film called I Want Your Sex is announcing itself as daring and alluring, but this film contains almost none of those qualities. Instead, it’s a slog that only occasionally has something interesting to show or say, mostly relying on the power of its actors to hold viewers’ attention - and failing at even that.

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I Want Your Sex is now playing in select theaters.

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