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    Movie Review

    Romance and tragedy make a potent mixture in Chemical Hearts

    Alex Bentley
    Aug 19, 2020 | 5:01 pm
    Romance and tragedy make a potent mixture in Chemical Hearts
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    Teenage romances are a tricky thing to pull off. On one hand, the allure of young love is something that is universal, and thus eternal. On the other, the lasting power of teenage relationships is notoriously low, so putting stock into them, even in the fantasy world of movies, is a fool’s errand.

    Chemical Hearts, based on the 2016 novel Our Chemical Hearts by Krystal Sutherland, is a tragic love story where most of the tragedy happens before the two main characters meet. Henry (Austin Abrams) is a high school senior whose longtime goal was to become the editor of his school newspaper. His plans are altered when Grace (Lili Reinhart), a transfer student, joins the staff and is named co-editor by the faculty advisor.

    Grace, who uses a cane following a car accident, is initially sullen and withdrawn, but gradually opens up thanks to Henry’s kindness and persistence. As the two grow closer, the reasons for Grace’s gloominess become clearer, putting a crimp in their burgeoning relationship. Henry must try to navigate Grace’s ever-changing moods, while Grace tries to keep herself from falling to far into the darkness.

    The film is the sophomore effort by writer/director Richard Tanne, who also wrote and directed Southside by You, which detailed Michelle and Barack Obama’s first date. This one takes a little while longer to get going, but once Tanne establishes Henry and Grace’s bond, it grabs hold of the viewer and doesn’t let go. Even through the barrier of Grace’s physical and mental pain, the chemistry of the two characters is evident.

    Still, the trauma resulting from Grace’s car crash puts a cloud over the entire story, which is as much about her depression/PTSD as it is about the growing feelings between her and Henry. The complicated nature of her feelings about Henry become all the more complex when you bring in the other parts of her life, which contain events that are unenviable, to say the least.

    The film is not quite as successful when it comes with dealing with Henry’s quirky group of friends, who work alongside Henry and Grace at the newspaper. One, Muz (C.J. Hoff), is a cypher who only seems to exist to show that Henry has a male friend of some type. The other, La (Kara Young), is gay, and is given her own will they/won’t they romance with Cora (Coral Peña). However, the film doesn’t quite have enough energy to spend on their relationship, so it comes off as inclusion merely for the sake of inclusion.

    Abrams has built up a nice resumé in the last few years, starring in the underrated Brad’s Status and impressing in guest roles on both Euphoria and This is Us. He’s not a dynamic performer, but he’s steady and reliable, which makes him interesting. Reinhart, best known as Betty on Riverdale, turns in a nuanced performance here that makes her someone to watch in the near future.

    Romance tinged with tragedy is a staple of young adult movies in recent years, and Chemical Hearts fits right in with the best of them. It never tries to be much more than what it needs to be, delivering a story that touches the heart in multiple ways.

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    Chemical Hearts debuts exclusively on Amazon Prime Video on August 21.

    Coral Peña, Kara Young, Austin Abrams, and C.J. Hoff in Chemical Hearts.

    Coral Pe\u00f1a, Kara Young, Austin Abrams, and C.J. Hoff in Chemical Hearts
    Photo courtesy of Amazon Studios
    Coral Peña, Kara Young, Austin Abrams, and C.J. Hoff in Chemical Hearts.
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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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