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Movie Review

The LEGO Batman Movie goes a little too wild for its own good

Alex Bentley
Feb 10, 2017 | 11:30 am
The LEGO Batman Movie goes a little too wild for its own good
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Of all the great things to come out of the surprise hit The LEGO Movie in 2014, Will Arnett’s turn as Batman was near the top. The combination of Arnett’s deep voice and deadpan delivery made for some of the funniest scenes in an already hilarious film, so when time came for a follow-up, centering it on his character was a no-brainer.

The LEGO Batman Movie has two things in its favor before audiences see even one scene. First is the cachet of the original, which became a monster at the box office because it appealed to kids while also poking fun at recent pop culture. The second is the domination of comic book movies in the past decade, even if Batman’s place in that world has become somewhat diminished.

Director Chris McKay and a host of screenwriters attempt to rehabilitate the Dark Knight’s image with a film that relentlessly mocks him and the character’s history, along with many other things. The story, such as it is, has Batman facing off against the Joker (Zach Galifianakis) on multiple occasions, becoming the unwitting adoptive father of Dick Grayson/Robin (Michael Cera), and adapting to the new police chief, Barbara Gordon (Rosario Dawson), who views Batman as unnecessary and even dangerous.

But the narrative framework is really just an excuse to throw as much mayhem at the screen as they can, and they succeed in that area mightily. This being a Warner Bros. movie, the film is packed full of characters from the studio’s multiple franchises. In addition to pretty much any DC Comics character you can think of, characters from Lord of the Rings, Harry Potter, King Kong, and more pop up throughout.

In fact, the film is so full of sight gags, in-jokes, puns, pop culture references, and more that it is next-to-impossible to keep up. While this makes for nearly continuous entertainment for 104 minutes, it’s also the equivalent of eating dessert for that length of time. Even if you love it, there’s a point where it all becomes too much and you need a break.

It’s also way too top heavy with DC Comics characters. The introduction of the many, many villains that DC has to offer makes for a great joke early on, but the continued presence of a good chunk of them only serves to clutter up the movie’s landscape. DC Comics fanatics will love being able to spot obscure characters like Polka-Dot Man and Clayface, but they don’t really add anything on a storytelling level.

Fortunately, if you focus on the movie’s main characters, there’s much fun to be had. The antagonistic relationship between Batman and Joker is treated as codependent, and Joker’s never-ending attempts to get Batman to show him the proper hate he deserves is hysterical. Likewise, Robin’s hero worship of Batman and Batman keeping him at arm’s length is the source of much comedy.

It appears as if the makers of The LEGO Batman Movie felt it was necessary to go hog wild to try to live up to the burgeoning reputation of the franchise. While that makes for a lot of fun, dialing things back from an 11 to a 7 or 8 would have made for a more well-rounded experience.

Batman (Will Arnett) in The LEGO Batman Movie.

Batman (Will Arnett) in The LEGO Batman Movie
Photo courtesy of Warner Bros.
Batman (Will Arnett) in The LEGO Batman Movie.
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Movie Review

Summer camp drama The Plague proves middle school is still pure horror

Alex Bentley
Jan 2, 2026 | 2:30 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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