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    Movie Review

    Julia Roberts and Lucas Hedges confront addiction in spectacular drama Ben is Back

    Alex Bentley
    Dec 20, 2018 | 11:41 am
    Julia Roberts and Lucas Hedges confront addiction in spectacular drama Ben is Back
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    The horrors of opioid addiction have made bold-faced headlines for years in the United States, so it only makes sense that filmmakers are increasingly using it as storytelling inspiration. Earlier this year, Beautiful Boy gave a real-life look into a destructive codependent parent-child relationship, and now Ben is Back has gone the fictional route for even greater effect.

    As the film begins, Holly Burns (Julia Roberts) finds her son, Ben (Lucas Hedges), on the doorstep of their home. It’s soon revealed that Ben has come home from a short stint in drug rehab to be with his family for the holidays, a step that does not sit well with his sister, Ivy (Kathryn Newton), or stepfather, Neal (Courtney B. Vance).

    Holly is also fighting conflicting feelings, overjoyed at seeing her son but wary of how he has hurt them in the past. Over the course of one day, the impact of Ben’s return spreads all over town, leading to the reopening of old wounds and a variety of situations that both Ben and Holly had hoped would remain in the past.

    Writer/director Peter Hedges (Lucas’ father) has crafted a film that unfolds with almost perfect precision. Certain events from the pasts of both Ben and the family as a whole are hinted at early on, and the filmmaker reveals the full extent of those events when they will have the most effect.

    The joy — and, yes, that’s the right word, despite the depressing nature of the film — of watching the story unfold is how well everything fits together. Most films, even the best ones, have at least a few contrived situations that interrupt the flow of the plot. There is not one such moment in this film, as the pieces of the story connect seamlessly.

    Consequently, everything and everyone in the film feels devastatingly real. It’s easy to feel the heartbreak within the main family of the story, but you know a film is working when those feelings extend to ancillary characters who make relatively brief appearances. The elder Hedges does wonders in grounding the film, never sensationalizing any of its elements.

    The story, of course, would be nothing without its actors, and the film is full of superlative performances. Lucas Hedges has had a big year, with roles in Mid90s and Boy Erased, but this is by far his best performance yet. He’s never showy, but he’s still able to get across the truth of Ben’s struggle impeccably.

    Likewise, Roberts is as good as she’s ever been as Holly. Too often in her career, it’s been difficult to see her as anything but a “movie star.” In this film, she is nothing but an actor and she is magnificent. Credit must also go to Vance, Newton, and Rachel Bay Jones for their crucial supporting roles.

    Quite simply, Ben is Back is spectacular. That’s a word I never thought I’d use for a film such as this, but the nuanced storytelling, subtle directing, and uniformly great performances make it a film that should not be missed.

    Julia Roberts and Lucas Hedges in Ben is Back.

    Julia Roberts and Lucas Hedges in Ben is Back
    Photo by Mark Schafer
    Julia Roberts and Lucas Hedges in Ben is Back.
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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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