Who said everything you need to make a movie is a girl and a gun? Obviously, everything you actually need is about 400 miles long way, a game of young people, and Mark Hamill, as director Francis Lawrence’s latest Hunger Games, “The long walk“Is a gloomy and gripping late-summer treated in poison. It also helps the screenwriter JT Mollner (author/director for last year’s addictive Cast-And-Mus”Weird darling“) Have dropped the material – a Stephen KingThe sorryRichard Bachman-Penned Young-Adult novel from 1979-without a dose of saccharin hope.
In the end, ”The long walk“Comes at its ATS Anti-Totalitarian message with the subtletty of a point-blank kill. Adapted from the novel King wrote under a pseudonym to separate his writing from his by-the-celebrity status, the dystopian thriller is set some place, America. In Other Words, A Time That Many Who Lived Through That Era And This One would say was the Other Worst time in American history, torn by panic and protest and government corruption laid naked.
In this special world, as a punishment of an adopted “epidemic of laziness” that spreads across its youth culture, the long walking committee is established as a kind of compulsory draft: Enlist yourself, survived an endless walk without going under 3 miles per hour, and unthinkable wealth awaits you at the other end if you are the last living. Three warnings, and you are dead, but another hour advanced without going below the speed limit, and a warning is deleted. At the same time, Mark Hamill shouts as the Major in Fireglasses for Fire glasses on you with a megaphone to continue moving or otherwise.
The calm presence of Cooper Hoffman Is our guide to a movie that is literally just a group of resistant, young men walking, saves a pair of flashbacks, here like Ray Garraty, #47. He has his own agenda, later packed into the film with close source-material reverence to reveal that Raymond comes in a time of authoritarian government control and censorship. Hans far (Josh Hamilton) fick ett dåligt öde i händerna på regimens skvadron efter att ha introducerat spridning av olagliga politiska meddelanden och introducerat sitt barn till sådana som Kierkegaard, Nietzsche, oh my, och senare i filmen, kan Ray tyckas vara att citera Heidegger i att beskriva hur vår enskilda dödsfall är den sak som gör oss unika till varandra till varandra.
The last man-standing imperative from the long walk itself becomes more difficult for competitors to follow as they grow closer together. Ray is particularly binding on Peter McVries alias #23 (David Jonsson, whose cocksure -carism reveals a softer side when the character is at a point implied to be queer), rattled by the graphic death of the youngest competing 20 minutes in, which is when it is when it is when it is when it is when it is is when it is when it is when it is when it is when it is when it is when it is when it is when it is when it is when it is when it is when it is when it is when it is when it is when film Finally releases its title card.
Then there is a scary, Reedy Charlie Plummer that makes his best Caleb Landry Jones as Gary, No. 5, who goes to other players to drop down to their weakest points to eliminate them. Yes, there are several visceral images of a long hiker or two who get the runs on their way to their moving targets at a destination, but like the blood sprayed with each squadron’s unloading to a slow poke, it is thankfully (but maybe cheap) everything done with CGI. Other competitors start release like flies, whether in emotional hysterics or foamy fittings from the mouth from fatigue or dehydration.
In the Annals of Movies about Death Races, “The Long Walk” is closest to Misantropic Spirit to Sydney Pollack’s shocking 1969 “They shoot horses, not they?”, With Cinematographer Jo Willems who applies a similar dust barn that tends to the claustrophobic, intentional or otherwise. Shots tend to be in medium close -up, toned in front of the wandering men, without much innovation at an angle or frame. This unpleasant, even dusty atmosphere makes the “long walk” feel all the more realistic or clearly ordinary, a dystopia both back in time and close to our own.
“My dad was my hero,” Ray, who has left a widow mom (Judy Greer) Overwhelmed by grief at home, Peter tells at one point. This view, which comes from Cooper Hoffman, of course thinks his own father, Philip Seymour Hoffman, which gives the film an extra -textual emotional dimension even when Cooper’s performances are increasingly feeling like a far from his father’s tortured, nervous souls and strange. Elsewhere in the ensemble, Joshua Odjick (“Wildhood”), Garrett Wareing (like Stebbins, with his own secrets), and Tut Nyuot (“Small Ax”) also makes a powerful impression and argues for “the long walk” as a kind of contemporary “stand by me” in terms of when it comes to to come to the in terms of when it comes to coming to the time of it.
This “long walk” really grows repetitive, its political message is delivered unclearly in a final that writes about the book’s end and is here so innocent to “America the beautiful” that it makes the climate shot of Brian de Palma’s “Blow out” looks positively conservative in comparison. “The Long Walk” does not tell or ask you something new if you feel up with rage of American leadership today, but the film’s gloomy commitment to the bit is a rarity for a studio film: There is nothing that holds your hand on this long walk, nor does it read a bedtime and strike you at the end.
Rating: B.
“The Long Walk” opens in theaters from Lionsgate Friday 12 September.
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