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Movie Review

Julia Louis-Dreyfus navigates marriage pitfalls in You Hurt My Feelings

Alex Bentley
May 29, 2023 | 2:30 pm

Anybody who’s been married or in a long-term relationship knows that it’s almost impossible to be completely honest with his or her partner. There are always going to be moments – whether for the sake of expediency, in a show of support, or other reasons – when one person withholds their true opinion so as not to hurt the other person’s feelings.

That idea is the central tension point of You Hurt My Feelings, which follows Beth (Julia Louis-Dreyfus), a writer/teacher, and her husband, Don (Tobias Menzies), a therapist. Beth is in the middle of trying to get her first fiction book published, a process that is causing her unceasing anxiety. Don sees a series of patients, including a constantly-bickering couple (played by real-life husband and wife David Cross and Amber Tamblyn), and a few lapses cause him to question his commitment to the profession.

When Beth and her sister, Sarah (Michaela Watkins), accidentally overhear Don telling his brother-in-law, Mark (Arian Moayed), that he doesn’t like Sarah’s new book and is exhausted having to tell her otherwise, it sends Beth into an emotional spiral. The aftermath winds up pulling in not just the two couples, but also Beth and Don’s son, Eliot (Owen Teague), dredging up feelings that all of them normally try to keep hidden.

Written and directed by Nicole Holofcener, the film is a funny and genuine look at how even the best couples can run into pitfalls. By most measures, Beth and Don get along fantastically well, supporting each other unwaveringly and showing their love in a variety of ways. When the story puts them at odds with each other, there’s never a question that they belong together, as even their arguments are tinged with exasperation instead of anger.

Holofcener complements the story of Beth and Don with a nice variety of side plots, including Eliot trying to start his own writing career while working at a weed store; Beth and Sarah’s mom, Georgia (Jeannie Berlin), offering up support and criticism in equal measures; and more. Don’s patients and Beth’s students offer an opportunity to expand the two characters’ personalities outside of their marriage while also adding a few other funny roles.

While perhaps not the most insightful film about marriage that’s ever been made, it is still highly enjoyable thanks to Holofcener’s writing and the strong performances. Filmed in New York City, the particular feel of that urban landscape and the way it affects the lives of the characters also plays a big part in the success of the film.

Louis-Dreyfus, as always, is a delight to watch. A kind of spiritual sequel to her previous collaboration with Holofcener, 2013’s Enough Said, the film gives her plenty of room to show off both her comedic and dramatic skills. Menzies makes for a steady presence, showing good chemistry with Louis-Dreyfus and a preternatural calm in therapy sessions. Watkins, Moayed, Teague, and Berlin all fit in seamlessly.

You Hurt My Feelings is not a world-changing kind of movie, but rather a solidly told story about how relationships can be complicated. With actors who are easy to like and Holofcener’s reliably great filmmaking, it’s a movie for adults that’s nice counter-programming to the glut of summer blockbusters.

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You Hurt My Feelings is now playing in theaters.

Arian Moayed and Michaela Watkins in You Hurt My Feelings

Photo courtesy of A24

Arian Moayed and Michaela Watkins in You Hurt My Feelings.

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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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