Tag Archives: anti-war

Cinema Review: The Long Walk (2025) – a compelling adaptation of Stephen King’s anti-war allegory!

Cinema Review: The Long Walk (2025)

Directed by Francis Lawrence

Screenplay by JT Mollner

Based on The Long Walk by Stephen King

Produced by Roy Lee, Steven Schneider, Francis Lawrence, Cameron MacConomy

Main Cast: Cooper Hoffman, David Jonsson, Garrett Wareing, Tut Nyuot, Charlie Plummer, Ben Wang, Roman Griffin Davis, Joshua Odjick, Judy Greer, Mark Hamill etc.

Cinematography by Jo Willems

*** MAY CONTAIN SPOILERS ***



This compelling and moving anti-war film was adapted from the Stephen King novel, The Long Walk (1979), originally published under his pseudonym, Richard Bachman. The story is set in a dystopian alternative version of the United States ruled by a totalitarian regime; a new military-driven world order. The plot follows the fifty young male contestants of a gruelling annual walking contest, who must follow a set of rules or face the grim consequences. Ultimately, most of their fates are doomed as only the last boy standing gains the prize.

As an aside, I often wondered why King published under a pseudonym and after a quick net search I found that the author was limited to publishing one book per year, since publishing more would be “unacceptable” to the public. King therefore wanted to write under another name in order to increase his publication without saturating the market for the King “brand”. So, there you go. But what of The Long Walk (2025)? How does it compare to the plethora of other King film adaptations?



Grim, unrelenting, and devastatingly poignant, The Long Walk (2025) transforms a brutal endurance contest into an unmistakable anti-war allegory. Fifty young men, each plucked from a different state, march forward under the banner of national pride and promised glory — but what unfolds is the slow annihilation of their bodies and spirits. The premise, simple on the surface, becomes a searing critique of how nations sacrifice youth for power, money, and hollow ideals.

The film thrives on the camaraderie and conflict between the boys: fleeting alliances form, bitter rivalries crack open, and in moments of exhaustion or terror, we glimpse the fragile humanity beneath their forced bravado. Echoes of The Hunger Games franchise, also directed by Francis Lawrence, are impossible to miss. However, this story clearly influenced The Hunger Games and other examples of survivalist literature. Yet, The Long Walk (2025) is way more rawer, more intimate, and ultimately more scathing in its indictment of systemic cruelty.

Among the excellent ensemble cast, Cooper Hoffman as Ray and David Jonsson as Peter emerge with standout performances. Their characters, drawn together in unlikely connection, add emotional depth to the carnage, grounding the relentless attrition in genuine feeling. As their bond develops, the horror of the “Walk” feels sharper, the futility more unbearable. Overall, aside from slight repetition of action and an ending I’d have preferred to have gone a different way, The Long Walk (2025) carries hypnotic and bloody power. It is both a war story without a battlefield and a coming-of-age tale without the promise of adulthood — a haunting testament to how societies can destroy their own sons in pursuit of an impossible prize.

Mark: 8.5 out of 11


CLASSIC FILM REVIEW: THE BATTLE OF ALGIERS (1966)

CLASSIC FILM REVIEW: THE BATTLE OF ALGIERS (1966)

Directed by Gillo Pontecorvo

Written by Franco Solinas

Story by Franco Solinas and Gillo Pontecorvo – Based on Souvenirs de la Bataille d’Alger by Saadi Yacef


Produced by Antonio Musu and Saadi Yacef

Main Cast: Jean Martin, Saadi Yacef, Brahim Haggiag, Tommaso Neri and ensemble.

Cinematography by Marcello Gatti

Edited by Mario Morra and Mario Serandrei

Music by Ennio Morricone and Gillo Pontecorvo

*** MAY CONTAIN SPOILERS ***



The Battle of Algiers (1966) was one of the greatest films I had NEVER seen. Now, The Battle of Algiers (1966) is one of the greatest films I have EVER seen. I’m embarrassed to admit that I had, for some unknown reason, not found the time to watch it. But wow, the “best films of all time” lists it appears on are NOT wrong. For sure, I don’t always get on with the critics’ list released by respected publications such as Sight and Sound, nevertheless with this incendiary work of cinema I am in total agreement of its deserved high ranking. In fact it could be higher.

The Battle of Algiers (1966) is set during a particularly brutal period of the Algerian War of Independence which occurred between 1954 and 1962. It is not a conflict I am too familiar with historically, nonetheless, I am aware of the desire by the Algerian National Liberation Front to decolonize themselves from French rule. Their demands were rejected by French leaders, thus the Algerian people took to the streets to wage a guerrilla campaign against both civilian and military targets.

Like many a bloody conflict lives, families, businesses, homes, properties and animals were savagely hurt and left irreparably damaged. As the prolonged fighting ensued in Algiers both sides resorted to more extreme combat measures. But with Algiers becoming a politically adverse battlefield, France’s external allies, such as the USA, moved their support away and eventually the Algerian people would overcome the hostile landlords. For the French, the Algerian rebels were terrorists. But remember, one person’s terrorist is another person’s freedom fighter.



A short review on a humble film blog cannot pretend to imagine the currency of horror, grief and pain encapsulated within this brutal conflict. Yet, incredibly, Gillo Pontercorvo, as well as producing a searing indictment against the barbarity of war, has in The Battle of Algiers (1966) made palpable such horror, grief and pain through sheer formal cinematic ingenuity. In two hours, Pontercorvo and his production team, employ a stark black-and-white-film-documentary-style, non-professional actors, chopping episodic narrative, percussive and beating sounds, handheld cameras, vérité production design and dynamic, dialectic montage to spectacularly bring the psychological power of war to the screen. Not to mention the iconic Morricone and Pontercorvo composition which pulsates throughout the soundtrack.

Intrinsically focussed on events in the Casbah, Algiers between 1954 and 1957, as the story is bookended from the perspective of Ali la Pointe (Brahim Haggiag). La Pointe is a petty criminal who is politically radicalized while in prison, but becomes a formidable force in the fight. The narrative events display a variety of bombings he organizes against the French and his attacks lead the French to bringing in experienced soldier, Lieutenant-Colonel Mathieu (the sole professional actor, Jean Martin). The paratrooper commander is tasked with bringing down the Algerian Liberation Front and his methods of torturing prisoners soon begin to turn the bloody tide.

I cannot overstate how moved I was emotionally and intellectually by The Battle of Algiers (1966). It is momentous filmmaking and made me feel both a fraud and horribly depressed at how evil human beings can behave. I am a fraud because I am safely able to live out my privileged life thankfully free of the horror I have witnessed in the film. Moreover, it is so depressing that we never learn as conflict continues to blight this poisoned planet we exist on. Lastly, Pontercorvo, redefines for me the job a what a director does. The Battle of Algiers (1966) is a pinnacle of how filmmaking style and form can match the heartfelt agony of the narrative themes on show. It is not only one of the greatest anti-war films of all time, but simply one of the most complete films ever made.


MY CINEMATIC ROMANCE #20 – KATHRYN BIGELOW

MY CINEMATIC ROMANCE #20 – KATHRYN BIGELOW

If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender, and I refuse to stop making movies. It’s irrelevant who or what directed a movie, the important thing is that you either respond to it or you don’t. There should be more women directing; I think there’s just not the awareness that it’s really possible. It is.“— Kathryn Bigelow in 1990


Having most recently directed the searing period drama, Detroit (2017), Bigelow has been making feature films, since her debut, The Loveless (1981), for over thirty-nine years. With a strong academic background, having studied at the San Francisco Art Institute and Columbia University, it’s fascinating to review a career which has eschewed arthouse cinema and essentially been spent working mainly on big-budget genre films. However, one can see in her directorial canon that Bigelow, while striving for commercial success, is constantly testing the boundaries of genre storytelling.

Along with a powerful visual style that attains symbiosis with the core material, she intelligently explores themes relating to violence, individual freedom versus the system, masculinity in crisis, gender representations and socio-political corruption. Lastly, her characters are often outsiders, morally complex and dealing with deep personal trauma. In short: Bigelow’s worldview is one of both healthy scepticism and cynicism, but also an element of hope within the longing for control. So, here are five of Kathryn Bigelow’s most impactful cinematic releases.

***ARTICLE CONTAINS FILM SPOILERS***



NEAR DARK (1987)

While The Lost Boys (1987) is rightly regarded as a very entertaining 80’s vampire film, Near Dark (1987) is way, way superior. Despite not catching fire at the box office, this neo-horror-western contains a fantastic cast of James Cameron alumni, including: Lance Henriksen, Bill Paxton and Jenette Goldstein. These great character actors inhabit this snarling gang of vampires perfectly as the film contains shockingly brutal violence and hard-bitten dialogue amidst a tender love story.



BLUE STEEL (1990)

While Jamie Lee Curtis is generally better known for her horror and comedy film performances, Kathryn Bigelow made excellent use of her dramatic acting ability as a rookie police officer caught up with Ron Silver’s psychotic commodities trader. Blue Steel (1990) is a variegated genre film which takes a standard police procedural narrative and twists it into something far more psychologically compelling. Lee Curtis excels, as does vicious bad-guy Silver, aptly named Eugene Hunt!



POINT BREAK (1991)

This classic heist meets surfing movie meets gay subtext bromance is jam-packed with classic action scenes and faux-deep philosophical musings. Keanu Reeves is the daftly named cop, Johnny Utah, who goes undercover, amidst the beach brigade to find a bunch of bank robbers. His suspicions fall on Patrick Swayze’s elemental surfer-dude-god and a dangerous “bromantic” game of cat-and-mouse ensues. Bigelow scored her first major hit with Point Break (1991), infusing it with some incredibly visceral stunt, surfing, robbery and chase sequences in an exhilarating film experience.



THE HURT LOCKER (2008)

After the box office failures of her previous three films, the under-rated sci-fi thriller, Strange Days (1995), enigmatic mystery, The Weight of Water (2000), and stodgy cold war film, K-19: The Widowmaker (2002), Bigelow’s seemingly took a career break. She would, however, come back with her most critically acclaimed and Oscar-winning film, The Hurt Locker (2008). From a brilliant script by Mark Boal and led by Jeremy Renner’s standout lead performance, The Hurt Locker (2008), put the audience right at the heart of a bomb disposal unit in Iraq. Putting aside the politics for a moment, the film is full of incredibly tense and superbly edited scenes which have your heart in your mouth. Simultaneously too, the film also shows the devastating emotional, physical and mental effect war has on the people of Iraq and the soldiers sent to fight this horrifically unjust conflict.



ZERO DARK THIRTY (2012)

Whereas The Hurt Locker (2008) had highly emotional and empathetic protagonists, Bigelow and Boal’s next film Zero Dark Thirty (2012), is a much more clinical and technically efficient cinematic experience. In parts, both a war drama and espionage thriller, the story also has a feel of an old-fashioned Western as American military and CIA operatives, led by the excellent Jessica Chastain and Jason Clarke, hunt down Osama Bin Laden. Politically speaking this is a film which makes me feel very uncomfortable for a number of reasons. It plays out like a revenge story. It also seems to both criticize and vindicate torture in the early scenes. This makes me uneasy as I understand the 9/11 attacks were just horrific, yet they seemed to get used as a motive for many more atrocities by the United States government. I guess that was what Bigelow and Boal were going for. They attempted to create a morally and emotionally complex war thriller that lets you interpret the events yourself and conclude one’s own judgements.