“They say it’s a choice to sign up for the walk, but do you know anyone who doesn’t?”

Story: After a “war that tore the nation apart”, there is an annual Hunger Games Long Walk. Fifty young men are chosen from a lottery system to make the trek. Walk at the pace of 3 MPH, and finish. That’s all you’ve gotta do. But slow down, and you get three strikes. Then? You get your ticket punched, and you don’t want that. Last one walking, wins.

Genre I’d put it in: Dramatic Horrors
Release Date: 2025
Remake, Sequel, Based-On, or Original: Based on the novella of the same name by Richard Bachman, aka Stephen King

Gotta say: This is my favorite “Bachman book”. It’s also the most “King”, to my mind at least. Think of this story as Stand By Me, but with guns at the characters’ heads. It’s a seemingly small story, but Walk packs a hell of a punch.

What’s truly horrifying is how incredibly prescient this story feels. With today’s My Side vs. Your Side deal in the US, the idea that a war could tear things apart, with the survivors barely making it in a dystopian theocratic-feeling society? Yeah, it’s all too easy to imagine. Screenwriter JT Mollnar doles out tiny tastes of the world these characters live in; governmental prayers, a contest “for the good of the people” that they say will cure “the epidemic of laziness” and provide “inspiration”. It’s dark, twisted, and wrapped in the flag. (Yet we see no symbols of patriotism here, to drive home the idea that this kind of horror could come from whoever would win a battle like this. See: President Coin’s first act as President in Mockingjay Part 2.)

The cast is small – well, after a bit, anyway – so we really get to know the characters. And anyone rooting for these boys to die, is as troubled as one of the main characters. As the plot soldiers on and on, miles turn to hours, then to days. To pass the time, the boys talk to each other, and as they do? Secrets are spilled, dreams shared, and terror tries to be held at bay. Naturally, not everyone makes it. But the powerful performances and no-holds-barred screenplay is absolutely captivating. Director Francis Lawrence – who, surprise surprise, directed four of the Hunger Games films, and currently directing Sunrise on the Reaping – lends his significant talent to this film, blending pathos, characterization, and world building with an almost effortless feel.

Our boys (in the film the characters say the age is 16+) are a collection of people from all over the country, from thoughtful artists to poor loners. As the walk progresses, each one comes to their own realization that the Walk is more than they’d imagined. As they make choices, or have choices made for them, it never gets easier to watch. That’s the point. Walk is a laser focused look at what people will put themselves through when all hope seems gone. It would have been interesting to have seen more about the state of their world, but only getting glimpses is part of King’s MO. He’s often said that what we can come up with in our minds is infinitely more interesting (and horrifying) than anything shown.

Well, except for these performances. Because as the boys get their “ticket punched”, each performer delivers an excruciatingly powerful moment that’s painful to watch. Yes, oftentimes literally, as we see many get a head-shot way too up close and personal. But the terror in their eyes, the fatigue, the hopeless surrender. It’s almost too much to bear. The story focuses on Cooper Hoffman’s Ray (#47) and David Jonsson’s Peter (#23), but the entire ensemble is devastatingly talented. I loved the real friendship that seemed to blossom between Ray and Peter, the “Musketeers” they formed with several other characters…and how each character reacted as their group got smaller. I don’t think I can even give a special shout-out to any one Walker here, as they’re all much too amazing to single out.

But I can say that David Jonsson’s Peter managed to be a shining light through his Walk, and I found myself loving the camaraderie he drew out of so many others. He’s the lightning rod that many other characters play off of, and his back-and-forth with Hoffman feels honest. I also have to take a moment to mention one of my all-time favorite performers, Judy Greer. As Ray’s mother Ginnie, her part is brief, but she brings out the big guns, making every scene she’s in a standout. Ginnie is devastated, hopefully, angry, and resigned. Greer delivers all of that in moments. It’s powerful stuff.

Oh, and if you’re not into scatalogical scenes? Honey, maybe pass on snacks during this one. These boys have to walk without stopping, and let’s just say things get dicey after a bit. And we can do nothing but watch. The bloody FX are decent, but there is one “ticket punch” early on with facial CGI that is shockingly bad. Luckily, it’s also brief. Things pick up exponentially from there though, with all other deaths/injuries sickeningly realistic. Just an FYI for my delicate flowers out there. I love y’all.

Be prepared to tear up as the final several Walkers start to wind down. And when it’s the last two, if you’re not clutching your chest literally or figuratively? Baby, who hurt you.

Walk, like Sinners, is primed to be an award season catnip, if voters can see past the genre. If they do? It’s gonna be a helluva great season. I hope it will be. Walk, like Sinners, deserves a whole lotta flowers.

#Protip: The stars walked approximately 400 miles during filming. Damn.