This is one of those twisted and real movies that displays social pressure from an adolescent point of view. The setting is in a place where anxiety is provoked and at the same time horrific moments come around. Written and directed by Charlie Polinger, this is The Plague. A film set at a water polo campwhere there may be roughness in the water, but also poolside as well. Suspense lingers in many forms. I found this film to be one of enrichment, because fitting in never comes easy for tweens.
The film’s main character is Ben, played by Everett Blunck. His enrollment in a water polo camp seems promising at first. It is run by a swim coach named Daddy Wags, played by Joel Edgerton. The camp though, has some rowdy kids on its roster.Ben fits in at first but then realizes that the social pressure comes around easily. The title of the film speaks for itself, because once everyone shouts that someone has “THE PLAGUE” it labels the individual as an outcast.
The film spirals with confusion and tension, as Ben finds himself at odds with fellow camp attendees. The one who he finds himself to be in the most confrontations with is Jake, played by Kayo Martin. The direction of Polinger displays a young force of rebelliousness among early adolescents. A creative tone is set for a film of psychological drama and a thriller that dazzles incessantly. The Plague keeps the momentum of the darkness strolling back and forth.
The Plague continues down the path of keeping popularity to be the strong suit, and that is where the camp begins to find itself in disarray. It is also where elements of the severeness of disconnect and social anxiety become overwhelming. The Plague is not an easy watch; it is one that may require a strong stomach in some moments—especially with the actions taken to ostracize victimized campers. Polinger creates a new age of bullying…one where consequences are heavier for all parties.
The Plague is surreal with its tone. I adore how much the popularity vibe carries the weight in the camp setting. I also appreciate how it displays the impact of the pressure on those trying to be bigger people. Its portrayal of those who tend to be introverts is accurate, as some settings do not feel so promising for young minds. With the setting of a camp and many bodies jumping in a swimming pool, a multitude of scenarios can be played out.
The Plague is a thriller that captured my eyes with a look at society in a new light. I was not dazzled, but I kept finding myself enthralled and curious as to how much damage can come around just from feelings of rejection. For the main character Ben, there is a lot more karma than the audience can anticipate in The Plague. Three out of four stars for this one.
Film Critic Tarek Fayoumi standing outside the BFI IMAX in London
2025 was a wild ride for film lovers. Scores of great films combined with competition among studios resulted in many special cinematic moments to cherish for years to come. Last year also included many unforgettable scenes and notable accomplishments. From a film with Leonardo DiCaprio running around in his bathrobe to Dylan O’Brien playing twins finding connection, 2025 offered spellbinding experiences which led to strong emotions that will linger for years. These are my top 10 films of 2025.
The first film is One Battle After Another. This is by far one of the most creative, prolific, yet comedic films I have seen by the well-known director Paul Thomas Anderson. So many moving parts come together at once and still manage to maintain a humor-filled vibe along with plenty of political espionage. One Battle After Another is a sensational ride of madness and fun. It is daring, and lethally action-packed. Mayhem is around every corner, and the misdirection is attention-grabbing. There are many unexpected punches to the face that keep audiences wanting for more.
The second film is Twinless. Director, writer, and actor James Sweeney presents a touching film about disconnect and the need to find a replacement. Sweeney is the master of emotional writing and turmoil. Twinless twisted my emotions to the core. The performances of Sweeney and O’Brien are insanely audacious. Love and grief find common ground in thismesmerizing portrait of appreciation. The title reminds audiences of the power of wishful thinking. Despite the hard truths of the film, the wonders of love are a revelation. Twinless delves into grief looking to be relieved. O’Brien and Sweeney are a dynamic duo trying to combat grief after the loss of their loved ones.
The third film is Hamnet. This is a powerful, transformative movie about the world of Shakespeare. Political themes play out in a medieval era filled with dynamics of power, love, and loss all performed on a stage. Hamnet is a thought-provoking portrait of challenges and turmoil in situations that should be black and white. The conflict between good and evil leads to connections and brilliance on stage. As one who loves theatricals, I was blown away by two things during this film. First, the chemistry between the main characters. Second, the effective portrayal of powerful emotions. Hamnet is well-written and demonstrates the human emotions of sadness and grief.
The fourth film is Rental Family. From the mind of director Hikari comes a mesmerizing and diverse portrait where some unique connections are found. Rental Family focuses on a character with a struggling career who decides to take a different path—one that requires having a heart. Brendan Fraser delivers one of the best performances of 2025, and ultimately one of the best of his career. Rental Family is a unique film that blends diversity and human connection to create parallel values and deep context.
The fifth film is Sorry, Baby. Eva Victor is the writer, the director and the lead in Sorry, Baby. She gives everything to this performance. Her mental awareness and her ability to portray disconnect are impressive as she shines in displaying both stress and relief. It is built upon a foundation of the steps it takes to move forward. The result is a landscape of trial and error that paints a clear picture of what it means to go with a gut-feeling.
The sixth film is The Baltimorons. This film is an absolute gem in which connections are found in unlikely places. It is a masterclass of comedy based on finding meaning after loss. The Baltimorons is a Christmas miracle from the mind of Jay Duplass. Co-written by Michael Strassner who is also the lead in the film, The Baltimorons relies upon a formulaic approach involving someone trying to cope with disconnect on Christmas Eve. I have long admired Duplass. In this film, he showcases the human ability to thrive in the face of loss. I adore The Baltimorons for its focus on someone dealing with personalfrustrations while also trying to bring happiness to others.
The seventh film is Marty Supreme. One-of-a-kind and authentic, this movie features one of Timothee Chalamet’s most mesmerizing performances. The film is like a ping pong match that you can’t take your eyes off. Writer and director Josh Safdie creates a film that is a few notches down from the stress of Uncut Gems and not aimed as much at gambling. This time the story highlights earning money through competition and building a reputation.
The eighth film is Wake Up Dead Man: A Knives out Mystery. Writer and director Rian Johnson is back with another installment, and this one may be the best of them all. The clues, the people, the egos, and the matters all make these mystery thrillers so fanciful and wonderful. It shines especially bright with Daniel Craig reprising his role as Benoit Blanc and bringing out laid-back detective mannerisms. At the same time, Craig’s character has the personality to solve the case by putting the pieces together one-by-one. The whole film is an exciting ride filled with questions, humor, and fun set in a church this time around. The wrongdoings have a lot to do with faith and fate—but also community involvement comes into the equation. Wake Up Dead Man: A Knives Out Mystery showcases a pattern of realizations created to blindside audiences with clever writing. Johnson is a genius.
The ninth film is Jay Kelly. Noah Baumbach’s films always spark human emotions because his writing creates moments in which audiences experience sadness. When directing films about divorce like The Squid and the Whale and Marriage Story, he painted portraits that show how everyone is impacted in these situations but still deserving of empathy. Baumbach has also directed films on family dynamics like Margot at the Wedding and Kicking and Screaming in which he carefully establishes that there is a level of disconnect. In his newest feature, Jay Kelly, there is disconnection from life due to fame. This film takes a more lighthearted approach with joyful scenes, while still being sad.
The tenth film is Frankenstein. The mind of Guillermo del Toro finds creative connections in a powerhouse effort which includes wonders of cinematic imagination unlike any other. From the worlds of Pan’s Labyrinth, The Orphanage, and Pinocchio, he creates new meaning with Frankenstein. In this film, the emergence of light evolves, but the political aspects regarding humanistic value fall between the cracks.
Film Critic Tarek Fayoumi standing next to a projector at BFI Southbank in London
2025 was a ride full of fantastic films. With all the films on my list being seen in virtual or digital form, I felt a sense of increased empathy in 2025 stemming from the themes of these impressive films. The external landscape in 2025 felt overwhelming at times, but ultimately there was a respite available in cinematic surroundings in every week. Staying upbeat was difficult at times, yet luckily in movies empathy was still alive in 2025.
Kill Bill: The Whole Bloody Affair, seeing it on film is a Must:
After many years, Quentin Tarantino (Pulp Fiction, Reservoir Dogs) decided to finally combine both Kill Bill films together to form Kill Bill: The Whole Bloody Affair. Volume 1 was released in the fall of 2003, and Volume 2 in the spring of 2004. Now in 2025, Tarantino tells the complete story, which includes an intermission. This creates the tension and the dynamics to feel ten times more vindictive and combative with a cinematic vengeance. Kill Bill: The Whole Bloody Affair is playing in standard projection, 35mm, and 70mm projection. A 35mm presentation provides theatergoers with a rich visual grain and an authentic softness of picture that makes a film feel instantly timeless. When seen in the much larger 70mm format, Tarantino’s combined epic shows in an unmatched resolution and scope. Both 35mm and 70mm presentations take over the vast space of the screen. Deep-down though, seeing the projection format is the only true way to feel the nostalgia behind the mind of the master filmmaker Tarantino.
Added Layers in Projection Mode:
For those who know Tarantino or the opening to both the films, there is that special presentation moment. That is because there is that old-school picturehouse introduction before the movie starts. It is like audiences are in the cinemas in the 1980s. That is because Tarantino utilizes projector technology in his works and the cinemas he owns. If audiences see the film in 35 MM or 70 MM projection, most of these cinemas have curtains opening and closing. This happens before and after the film. Sometimes it even happens with intermissions. There is value in this experience because it makes the film feel like a special experience. Seeing Kill Bill: The Whole Bloody Affair, I felt like I was taken back to its era when I saw it in 35 MM projection.
Worth the Time?
From the perspective of watching a film by a director that is about having moments of truth, and to this end, Tarantino’s latest vision only adds to the vengeance unearthed in his original two film saga. Kill Bill: The Whole Bloody Affair is like a rolling reel of swords aflame. I saw this at the Prince Charles Cinema in London, and I was blown away. The many moments of swordsmanship, vengeance, and culture all came back to me. The 35 MM experience, when available, is essential for those who love the works of Quentin Tarantino.
Movies with Tarek 