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Movie Review

Frozen II takes dramatic journey into the unknown of movie sequels

Alex Bentley
Nov 20, 2019 | 4:25 pm
Frozen II takes dramatic journey into the unknown of movie sequels
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Like most Disney properties these days, the success of Frozen II is almost preordained. Heck, fans propelled the “live action” version of The Lion King to No. 11 on the all-time box office list despite it offering almost nothing new and inferior versions of the classic movie's songs. So, whether Frozen II is good or bad will have little to do with the massive box office it will take in.

The best you can hope for is that the filmmakers — returning co-director Chris Buck and co-director/writer Jennifer Lee — will stay true to what made the first film succesful while offering at least a nod toward something new and interesting. Anna (Kristen Bell), Elsa (Idina Menzel), Kristoff (Jonathan Groff), and Olaf (Josh Gad) have settled into a nice life in Arendelle following the events of the first film. When Elsa starts hearing strange sounds coming from a far-off part of the kingdom, however, their lives are about to get upended.

The sounds seem to emanate from a dark forest their father had warned them about when they were young, a place now shrouded in an impenetrable fog. The quartet — plus Sven the reindeer — decide they must seek it out to find out not only the source of the mystery, but perhaps the key to their family history, as well.

Whereas the first film was relatively simple, the plot of the sequel is immensely complicated. The above synopsis is bare bones, and does nothing to indicate the different threads the story explores. Prominent among them is a surprisingly serious interrogation of the role Arendelle’s ancestors — led by Anna and Elsa’s grandfather — had in an attack on a neighboring native tribe.

In fact, the movie as a whole is relatively dramatic. Despite the happy ending to the first film, the sisters have led a hard life, and an investigation into their family’s past reveals other things that throw them for a loop. Fortunately, the film has Kristoff, Olaf, and Sven for its comic relief, throwing in well-timed jokes to keep the proceedings light.

The soundtrack of the first film, which included the inescapable “Let It Go,” was such as juggernaut that it would be almost impossible for this film to measure up. Sure enough, there are no true standouts, although they try really hard to make “Into the Unknown” work. Instead, it’s the visuals of certain songs that are memorable, especially the '80s-esque ballad “Lost in the Woods” that gives Kristoff an unexpectedly hilarious showcase.

The talents of Bell, Menzel, Groff, and Gad have long been apparent, and each of them is great again in roles they know well. This film sees the additions of well-known actors like Evan Rachel Wood, Jason Ritter, Sterling K. Brown, and Alfred Molina, although only Brown, with his distinctive voice, stands out from the crowd.

Like most sequels, Frozen II doesn’t quite live up to the first film, but it’s far from a waste of time. If nothing else, it’s nice to be able to spend some more time with the engaging characters of Arendelle.

Kristoff (Jonathan Groff) and Sven in Frozen II.

Kristoff (Jonathan Groff) and Sven in Frozen II
Photo courtesy of Walt Disney Studios
Kristoff (Jonathan Groff) and Sven in Frozen II.
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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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