'The Plague' review: Psychological drama makes your skin crawl

Independent Film Company

What is the holiday season for if not for being stuck with ignorant, mean-spirited young boys for 90 minutes? Here comes The Plague, which transports us back to 2003. 12-year-old Ben (Everett Blunck) arrives at a water polo camp for boys of similar age. He struggles a bit socially as his softer, more considerate personality doesn't quite mesh with his more hive-minded, raucous teammates. The group, often led by a kid named Jake (Kayo Martin), is shunning Eli (Kenny Rasmussen) who has developed a skin condition that gives the film its title. Ben soon finds himself as another target of bullying, mind games and shunning, making him wonder if the "plague" is somewhat real. Joel Edgerton plays coach "Daddy Wags" whilst Caden Burris (as Matt), Elliott Heffernan ("Tic Tac"), Lennox Espy (Julian) and Lucas Adler (Logan) portray other members of the team.

Despite this rather simple setup, writer-director Charlie Polinger's first feature isn't just another generic project about outcasts being ostracised, rest assured. It's also a downcast mood piece because it embraces enough weirdness in the way it tackles the subject matter. Delving into group dynamics, peer pressure, body image, puberty and sexuality, the film is in conversation with other works, particularly those that also use showers, pools and locker rooms to comment on those topics ('Carrie', 'Eighth Grade', 'Let The Right One In' and more). But Polinger's script creates enough breathing room for itself because in addition to thriving simply as a stressful psychological drama about cruelty that boys are capable of, it possesses an undercurrent of performative masculinity and the fear of those who are different. This comes across in the piercing dialogue and how it respects the intelligence of both the characters and the audience.

While the bullying storyline and Ben's insecurity are on a straight track to a predictable outcome, that dialogue and these young actors (assembled finely by casting director Rebecca Dealy) are the reason why you're thrown off balance. The entire group together makes the situation seem terrifyingly believable, but the trio of Blunck, Martin and Rasmussen are quite exceptional here. You never know where they're going with their scenes and they keep surprising you with their choices, which makes the drama feel alive. Blunck handles Ben's softness and masks he ends up wearing deftly; Martin devises one of the most subtle yet irksome little devils in recent history; and Rasmussen's movement and line deliveries aren't what you expect. Even the possible reading of Eli being neurodivergent is never exaggerated—it's there and it makes sense considering how neurodivergent youths were usually the target of cruel "jokes" and ostracism.

Add some heightened soundscapes designed by Damian Volpe (even if the muffled "underwater" edits are a bit too obvious at times), a few interesting bits of score by composer Johan Lenox and slick camera movement by cinematographer Steven Breckon and you have a delicious soup cooking on the stove. Polinger may not find anything super memorable to say about bigotry, conformity and boys exploring the different shades of their masculinity because the body horror in the latter half isn't as effective as the psychological confrontations, but this is still a strong debut. If you're looking for a tight, electrifying anxiety trip with remarkable performances, The Plague is one to catch. Bring your own swimwear.

Smileys: Acting, screenplay, sound mixing

Frowneys: None

Tread warily when dealing with tweens.

4.0/5

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