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Movie Review

Tom Cruise can't decide if he wants to be a movie star or something more in American Made

Alex Bentley
Sep 29, 2017 | 1:34 pm
Tom Cruise can't decide if he wants to be a movie star or something more in American Made
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For the first 25 years or so of his career, Tom Cruise regularly went back and forth between big, crowd-pleasing roles and those that stretched his ability as an actor. The past decade, however, has been filled almost completely with roles designed to continue or kick-start blockbuster franchises, ones that put a premium on entertainment over thoughtfulness.

That’s not to say that he hasn’t been great in many of them, but the abundance of over-the-top parts has solidified Cruise’s reputation as an action star. It makes watching American Made a strange experience, as his role seems to toggle between “movie star” Tom Cruise and someone who may want to say something more.

Cruise plays Barry Seal, a real-life pilot who, the film says, was recruited by the CIA to be a courier to Central and South America. His frequent trips to the area catch the attention of the Colombian drug cartel, and he soon agrees to start smuggling drugs back into the United States.

The film claims that Seal was so influential that not only was he in direct contact with General Manuel Noriega in Nicaragua and Pablo Escobar in Colombia, but that, among other things, he was also asked to deliver weapons to the U.S.-backed Contras in Nicaragua. They stop short in calling him one of the biggest players in 1980s-era geopolitics, but just barely.

Director Doug Liman, working from a script by Gary Spinelli, tries to play the story for laughs and thrills, but the seriousness of the drug trade and politics that are at the heart of the story are constant impediments. The impact of Seal's actions, on both himself and those around him, make it impossible to simply sit back and be entertained.

Neither Liman nor Cruise seems to grasp the idea that Seal should feel like a real person, not some kind of only-in-the-movies antihero. Instead of showing any complexity of character, they make Seal into a freewheeling, devil-may-care person. That may work in a fictional, Mission: Impossible-type film, but it strikes a false tone in a movie like this.

It's also starting to get awkward seeing Cruise paired with much younger women on screen. In most action movies, you can suspend your disbelief since nothing is supposed to be real. But it’s clear that Seal is supposed to be in his early 40s, something the 55-year-old Cruise is hard-pressed to pull off. Matching him with the 33-year-old Sarah Wright Olsen doesn’t work optically or for the characters, who are portrayed as a regular, Southern family, not a rich guy with a hot young wife.

If the story of American Made were completely made up, it might be a purely entertaining movie. But you can’t ignore the real-life implications of Seal’s actions, and the fact that the film barely addresses them makes it difficult to reconcile its motives.

Tom Cruise and Sarah Wright Olsen in American Made.

Tom Cruise and Sarah Wright Olsen in American Made
Photo by David James
Tom Cruise and Sarah Wright Olsen in American Made.
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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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