Film enthusiasts have much to discuss with the recent releases of three notable films: “The Plague,” “We Bury the Dead,” and “The Dutchman.” Each film offers a unique narrative that engages with themes of adolescence, love, and societal issues.
Coming-of-Age Drama: “The Plague”
Director and writer Charlie Polinger presents his debut feature, “The Plague,” a coming-of-age film set in 2003 at a youth water polo camp. Running for 1 hour and 38 minutes, this drama explores the psychological complexities of adolescent life, emphasizing the effects of stress and emotional turmoil.
The story follows Ben, portrayed by Everett Blunck, a 12-year-old who navigates the challenges of friendship and ostracism at camp. His alliance with Eli, played by Kenny Rasmussen, a boy shunned for his severe eczema, leads to Ben facing similar ridicule from his peers. As the plot unfolds, the film draws parallels to William Golding’s “Lord of the Flies,” capturing the tension and energy of youth.
Despite the film’s heavy themes, it is buoyed by strong performances from the young cast. Blunck delivers a compelling performance that resonates with audiences, while Rasmussen shows promise as a character actor. The cinematography by Steven Breckon enhances the film’s emotional depth, making it an engaging watch. While Joel Edgerton provides a notable adult presence as Coach “Daddy Wags,” the narrative could benefit from more adult involvement. Overall, “The Plague” is a poignant exploration of adolescence, earning it a grade of B+.
Zombie Drama: “We Bury the Dead”
In a contrasting genre, “We Bury the Dead,” directed by Zak Hilditch, takes viewers on a harrowing journey through a post-apocalyptic landscape overrun by the undead. Starring Daisy Ridley as Ava Newman, the film runs for 1 hour and 35 minutes and focuses on her quest to find her husband amid chaos in Tasmania following a catastrophic event caused by a U.S. experimental weapon.
The film attempts to merge horror with a personal narrative; however, it struggles to balance thrilling moments with a coherent storyline. Ava’s journey, accompanied by Clay (played by Brenton Thwaites), lacks the intensity typically expected from a horror film. Despite some engaging sequences, the film fails to evoke genuine fear, leaving audiences wanting more from its premise.
Ridley’s portrayal of Ava carries dramatic weight, but her character often appears unfazed by the surrounding dangers. The film leans heavily on character interactions rather than the horror elements, resulting in a lack of suspense. “We Bury the Dead” ultimately serves as a meditation on lost love rather than an effective zombie thriller, meriting a grade of C+.
Contemporary Adaptation: “The Dutchman”
Lastly, “The Dutchman,” directed by Andre Gaines, is a modern adaptation of the 1964 play by Amiri Baraka. This film, lasting 1 hour and 29 minutes, delves into complex social issues surrounding race and identity. However, its cinematic execution falls short of the impact of its original stage format.
The narrative centers on Clay (played by Andre Holland), a successful African-American man grappling with marital issues. His encounter with Lula (portrayed by Kate Mara), a white woman who confronts him with racial stereotypes, leads to an uncomfortable and manipulative relationship. The film reflects significant themes but often feels more suited for the stage, with dialogues that lean toward philosophical discussions rather than cinematic storytelling.
Despite a talented cast, including Zazie Beetz and Stephen McKinley Henderson, the film’s characters often lack depth, making it difficult for viewers to connect. The awkward interactions and inconsistencies detract from the narrative’s potential. “The Dutchman” presents intriguing ideas but ultimately struggles in its execution, receiving a grade of C-.
In summary, the recent cinematic landscape offers a variety of narratives, each with its strengths and weaknesses. While “The Plague” stands out as a compelling coming-of-age story, “We Bury the Dead” and “The Dutchman” highlight challenges in marrying character-driven plots with genre expectations.
