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Movie Review

Coffee & Kareem mixes low humor with action for a muddy result

Alex Bentley
Apr 3, 2020 | 4:01 pm
Coffee & Kareem mixes low humor with action for a muddy result
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Comedy is one of the toughest movie genres to get right. Even the most talented comedic actors in the world can seem like hacks if the writing isn’t up to par. And too often a writer tries to cover up his or her lack of skills with elements designed to shock, hoping the audience will figure laughing at over-the-top things is better than not laughing at all.

A prime example of that type of cover-up is on display in Netflix’s Coffee & Kareem, a title that is eyeroll-worthy on two levels. The title stems from the pairing of James Coffee (Ed Helms), an error-prone police officer, and Kareem Manning (Terrence Little Gardenhigh), a 12-year-old boy whose mother, Vanessa (Taraji P. Henson), is dating Coffee. But since Coffee is white and Kareem is black, it’s also supposed to be a reverse twist on the pairing of coffee and cream, get it? GET IT?

Annnnyway, Kareem doesn’t like his mother dating Coffee, so he tries to enlist a local drug dealer to take him out — you know, that old familiar story. However, Coffee’s bungling screws up the deal, another officer gets killed, and Coffee & Kareem have to go on a series of adventures to clear Coffee’s name and expose some other bad officers along the way.

If it’s exhausting trying to explain the movie, that’s nothing next to actually watching it. You see, this is one of those times when the filmmakers – first-time feature film screenwriter Shane Mack and director Michael Dowse – think it’s hilarious to have a kid spew enough profanities to last anyone’s lifetime. What’s mildly amusing the first few times a curse word comes out of his lips soon becomes tiresome and just plain lazy.

Of course, it’s part and parcel of the film as a whole, which features Coffee wrestling with the drug dealer in a room full of cocaine, the kidnapping of an unconscious Vanessa by Coffee and Kareem, and a performance by Betty Gilpin as a dirty cop that’s so hammy that you almost feel sorry for her having to deliver it.

Despite all of that, the film does manage to amuse on a few occasions thanks to Helms and Henson. Helms, especially sporting a mustache, has the inherent look of a pushover, and his reactions to the craziness his character either causes or witnesses are mildly diverting. Henson, as she’s shown in multiple other roles, doesn’t fear anybody, and when she’s given a chance to unleash here, she plays it for all it’s worth.

Netflix is already one of the prime beneficiaries of the shutdown caused by the coronavirus, but no one should rush to watch Coffee & Kareem. It’s a film that consistently takes the low road with no regard for the potholes it finds along the way.

Ed Helms and Taraji P. Henson in Coffee & Kareem.

Ed Helms and Taraji P. Henson in Coffee & Kareem
Photo by Justina Mintz
Ed Helms and Taraji P. Henson in Coffee & Kareem.
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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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