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Movie Time

Lone Survivor pays brutal tribute to fallen soldiers, but fails in storytelling

Alex Bentley
Jan 10, 2014 | 10:32 am
Lone Survivor pays brutal tribute to fallen soldiers, but fails in storytelling
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There have been a number of movies about the War on Terror in Iraq and Afghanistan, but surprisingly few have dealt with actual soldiers on the ground. In fact, most focused on politics or the impact the war has had on returning soldiers.

Writer/director Peter Berg has bucked that trend with Lone Survivor, an account of the real-life deadly firefight involving Navy SEAL Marcus Luttrell (Mark Wahlberg) and three of his comrades. Luttrell, Michael Murphy (Taylor Kitsch), Danny Dietz (Emile Hirsch) and Matt Axelson (Ben Foster) were tasked in 2005 with a mission to capture or kill Ahmad Shahd, a Taliban leader.

The film recounts a real-life deadly firefight in 2005 to capture a Taliban leader named Ahmad Shahd.

As is often the case, the mission did not go exactly as planned. The four soldiers found themselves fighting for their lives on a rugged Afghani mountainside.

With dwindling resources, a lack of communication with possible rescuers and a seemingly never-ending supply of enemy combatants, their odds of escaping the situation were slim-to-none.

In a film like this, where the ending is foretold by the title itself, how effective it is depends on the care taken with the story. You want to be respectful of these soldiers’ memories but remain honest about what went wrong.

It’s a fine line that Berg manages to tread relatively well. Most key moments are allowed to play out without any over-dramatization, while the horrors Berg shows the soldiers experiencing during the battle are as detailed and brutal as anything in recent memory, probably going back to Saving Private Ryan.

But where Berg doesn’t succeed is in making the audience understand why the four soldiers were in that situation in the first place. Scenes leading up to them being on the mountainside make it seem as if the team of SEALs was going to be bigger or at least include more support than they had. The technical details involving the military are thrown out in a fast and furious manner, with little effort made to explain anything sufficiently.

Ultimately, the film rests on the abilities of the four main actors. Wahlberg is good, but things might have been a bit better if he had switched roles with Kitsch, who has a bit more presence. Both Hirsch and Foster are great, delivering on the promise they made with previous award-worthy performances.

There’s little that’s uplifting about Lone Survivor, and Berg could have made the whole process a bit clearer. But as a tribute to the ultimate sacrifice of brave soldiers, it more than works.

Ben Foster, Emile Hirsch and Mark Wahlberg in Lone Survivor.

Ben Foster, Emile Hirsch and Mark Wahlberg in Lone Survivor
Photo by Gregory E. Peters Universal Pictures
Ben Foster, Emile Hirsch and Mark Wahlberg in Lone Survivor.
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Movie Review

New film The Plague turns tween bullying into chilling drama

Alex Bentley
Jan 2, 2026 | 1:14 pm
Everett Blunck in The Plague
Photo courtesy of IFC
Everett Blunck in The Plague.

Anybody who’s attended elementary school in the last 100 years knows the concept of “cooties,” a fictional affliction that is typically caught when touched by a member of the opposite sex. A more updated version of the same idea is featured in the Diary of a Wimpy Kid series, this time called the “Cheese Touch,” making anyone who touches a moldy piece of cheese on the school’s basketball court an outcast.

A much more menacing version of this “disease” is on display in The Plague, which takes place at a summer water polo camp for tweens. The film focuses on Ben (Everett Blunck), a slightly awkward boy who struggles to fit in with the “cool” crowd led by Jake (Kayo Martin). That group has no problems making fun of others that they deem to be different, especially Eli (Kenny Rasmussen), who has been ostracized because of a rash he has that the kids call “the plague.”

Ben wants to be part of the main group, but his natural empathy leads him to reach out to Eli on more than one occasion despite Eli engaging in some uncomfortable behavior. With the camp’s coach (Joel Edgerton) not much help when it comes to the bullying tactics by Jake and others, especially those that take place at night, Ben is left to fend for himself. His vacillations between wanting to be accepted and wanting to do what’s right continue until his hand is forced.

Written and directed by first-time feature filmmaker Charlie Polinger, the film has all the feel of a horror movie without actually being a horror. The staging used by Polinger gives the film a claustrophobic feel as Ben can’t seem to escape the psychological torture inflicted by Jake and others no matter where he goes. He also employs a jarring score by Johan Lenox to great effect, one that’s designed to keep viewers on edge even when nothing bad is happening.

No matter how far removed you are from middle school, the film will likely bring up feelings you thought you had left behind. Much like with Bo Burnham’s Eighth Grade, Polinger finds a way to tap into something universal in his depiction of tweens, an age when everyone is still discovering who they really are. Some go along to get along, others don’t even attempt to fit in, but no one truly feels settled.

Whether the plague is real or not in the world of the film is up for debate. While most of the time it comes off as something made up to underscore the feeling of otherness felt by Ben, Polinger does literalize it to a degree. He even tiptoes up to the line of body horror before wisely retreating, although what he does show will still make some viewers squeamish. However, because he seems to be leaning one way before pulling back, there’s the possibility that some will be disappointed by the tease of something more intense.

The film’s biggest success is in its casting. Finding good child actors is notoriously tough, and yet Polinger and casting director Rebecca Dealy found a bunch who sell the story for all it’s worth. Blunck, Martin, and Rasmussen get the most play, but everyone else complements them well. Edgerton is the only well-known actor in the film, but he’s used sparingly and isn’t asked to do much, leaving the kids to carry the story on their shoulders.

Fitting in as a tween is hard enough without others actively trying to find ways to cast someone out. The Plague is an effective demonstration of the dynamics that can play out in a competitive environment that also includes a group that has yet to develop into fully-rounded people. It features discomfort on multiple levels, marking an auspicious debut for Polinger.

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The Plague is now playing in theaters.

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