‘The Plague’ Evaluate: A sink-or-swim coming-of-age story

The undercurrents of adolescent cruelty churn queasily in Charlie Polinger’s fashionable first characteristic, “The Plague.”

The title of Polinger’s movie may recall to mind Stephen King or current world historical past, however “The Plague” is ready completely across the clear, chlorinated swimming pools and shadowy hallways of a water polo camp, circa 2003. There, 12-year-old Ben (Everett Blunck), a scrawny and delicate child, arrives for the second session. That’s a key element: Is there any better horror than becoming a member of a summer season camp the place the pal teams are already established?

But there’s actually just one group: a lewd and boisterous lot led by a smirking, cocksure child named Jake (Kayo Martin). And there’s one outcast: Eli (Kenny Rasmussen), the type of 12-year-old who’s clearly sensible however whose awkward, introverted method and fondness for issues akin to magic methods and “Les Miserables” inevitably make him an outsider. He additionally is roofed in pimples and has rashes throughout his again. Jake and the remainder all say he has the plague. “No cure for him,” Jake tells Ben.

These are the troubled coming-of-age waters that “The Plague” swims in. From the beginning, it’s clear that Polinger, who additionally wrote the movie, has a eager eye for each darkly gleaming surfaces and for the roiling torments that lurk under. “The Plague” is not at all charting new floor in the case of adolescent torments; it is a film working with very recognizable preteen varieties. But Polinger’s expertise for crafting ominous, murky atmospheres and perceptive adolescent dynamics make “The Plague” an auspicious debut characteristic.

While coming-of-age tales have performed out earlier than on baseball diamonds and soccer gridirons, the deep swimming pools of water polo are a extra novel setting. From the beginning, Polinger’s digital camera, working with cinematographer Steven Breckon in 35 mm, drifts eerily towards the quiet frenzy underwater: the kicking legs and agitated bubbles. Their entry to maturity is a sink-or-swim, with nothing to face on.

When their coach (Joel Edgerton, additionally a producer) asks what water polo is, he calls on Ben, who presents: “Working together as one big family, or whatever.” But removed from collective, the world of “The Plague” is primal and survivalist. The coach is variety however ineffectual. Parents are distant and out of attain. This is “Lord of the Flies” within the pool.

That connection is most clear one night time when the boys sneak out to some deserted constructing, make a bonfire, smash a bunch of stuff and watch as Eli — who normally isn’t even allowed of their presence — dances by spinning wildly round. Ben is extra delicate than Jake and his buddies, and he appears involved for Eli as quickly as he arrives. But he’s additionally extra anxious about his personal, tenuous-at-best place within the group, and he makes use of this second to crash into Eli, knock him down after which make a present of cleansing off any “plague” residue on his arm.

In “The Plague,” ostracism is as everlasting and irremediable as any pandemic an infection. As big-screen bullies go, Jake is a traditional one, terrifically performed with smarmy malice by Martin. Jake isn’t taller or stronger than the remainder, however he has a maturely manipulative really feel for weak factors. He doesn’t a lot unleash putdowns as he repeats again a clumsy reply and lets his sufferer twist within the wind. Psychologically, he towers over the remainder.

It’s clear sufficient that “The Plague” is constructing towards some eruption of violence. Eli even appears a bit like a younger Vincent D’Onofrio in “Full Metal Jacket.” Pain within the “The Plague,” although, manifests itself inwardly. The most tragic factor in it’s that even Eli appears to suppose “the plague” is actual, that there actually is one thing mistaken with him. After briefly befriending him, Ben develops pimples and rashes of his personal. Does he wish to persuade the others that there’s no such factor as “the plague,” or does he simply need them to know he doesn’t have it?

Polinger’s movie isn’t a cushty watch and it’s not meant to be. It will get below the pores and skin. That it’s drawn partially from its director’s personal reminiscences is definitely one supply of its efficiency. Yet as a result of it’s a film about childhood that’s clearly not for youths, one can shake off “The Plague,” grateful to have left adolescence behind. This is a film that makes you all of the extra grateful for maturity, simply because it renews your sympathy for these nonetheless wading such daunting waters.

“The Plague,” an Independent Film Company launch, is rated R by the Motion Picture Association for language, sexual materials, self-harm/bloody photos, and a few drug and alcohol use — all involving youngsters. Running time: 93 minutes. Three stars out of 4.