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    Movie Review

    Early Stephen King novel The Long Walk is a movie with a modern-day message

    Alex Bentley
    Sep 12, 2025 | 10:30 am
    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 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.

    ---

    The Long Walk opens in theaters on September 12.

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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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