Charlie Polinger’s “The Plague” is the feature-length film debut of the writer/director, who has made short films up to this point.
The film may wind up a calling card that leads to bigger things, as the festival response to the film has been strong.
The story centers around Ben (Everett Blunck), a 12-year-old boy who joins a water polo team and immediately realizes he is an outcast amongst boys who are aggressive, obnoxious and casually cruel. Jake (Kayo Martin) is Ben’s teammate and is the worst of them.
Jake’s vibrant smile and unceasing sense of humor barely mask a casually sadistic streak and a tendency to lash out at anyone who opposes him. Ben immediately becomes Jake’s target, as Ben is slow to realize that the early taunting and sizing one another up isn’t boys-will-be-boys teasing but an early test.
The title refers to a sadistic game the boys play amongst one another, where they deem the unfavorable one in their midst as having “the plague.” If you disappoint or turn against them, no one will play with you or touch you, but you will be treated as if you have an incurable and highly contagious virus.
This subplot gives the film its title, but the psychological body horror this creates seems like baggage the film didn’t really need.
This intense, Kubrickian drama plays like “Full Metal Jacket” (1987) with middle school boys instead of soldiers. The story eventually becomes so overwrought and heavy-handed, that it strangles the life and humanity out of it.
Even “Lord of the Flies” (William Goldings’ novel or the two film adaptations) had some level of perspective to offer; this film simply drags us through the mud and will only make those of us who suffered through years of school bullying re-live that rotten time.
The genre shifts from psychological drama into outright body horror, with sharp alterations of tone and approach, is jarring. “The Plague” works best when grounded in reality, but it takes odd dips into outright horror that aren’t fully developed.
Polinger’s film is nightmarish enough without the efforts to explore Cronenberg territory.
The underwater photography is as inventively utilized as it is simply beautiful. Joel Edgerton’s character is a supporting turn – he’s solid as usual as a kind-hearted coach, but the film belongs to its young cast, who are all excellent.
Many scenes are impactful, due to the suspense of not knowing whether we’re about to witness the young protagonist breaking through and building a friendship or if it incites another violent altercation.
From the way there is no visible security ever in sight and how clueless or willingly ignorant the coach is regarding the safety of his group; the story seems contrived to hurt us and doesn’t play fair.
“The Plague” is an accomplished work, particularly in the way it sustains unease and suspense, but it all spins out of control in the same manner the protagonist does at the end. The ending is pat and inconclusive, a better example of the director’s capabilities than his way to properly conclude his tale.
The story has so many unresolved aspects, such as the truth about the title (is the plague a real threat or not?). So much of this plays like a self-conscious art movie.
Polinger can stage potent drama, but the end result is kind of like being bullied – you walk away from “The Plague” feeling sucker punched and little else.
Two Stars
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