THE STORY – A university student lives life without fear of consequences.
THE CAST – Alex Wolff, Lewis Pullman, Halle Bailey, Austin Abrams, Angus Cloud, Bo Mitchell, Denise Richards, Cheri Oteri, Scoot McNairy & John Malkovich
THE TEAM – Ethan Berger (Director/Writer), Zack Purdo & Alex Russek
THE RUNNING TIME – 100 Minutes
When the gates of the world are opened to young people, a world of possibilities awaits them. Good intentions and sincere optimism will give hope that they will take action to improve the environment around them, creating a brighter future for themselves and the generations to follow. However, it is equally plausible for insidious forces to descend upon them, leaving a corruptible spirit and a path of destruction. This poisonous mindset can be avoided, but the aura of intoxication can prove to be too powerful. What’s especially unnerving is how quickly good senses turn to bad and how the temptation to give in to base emotions can make even the most benign situations evil. This is territory that “The Line” seeks to explore; however, its commentary is prescient while at the same time being quite pedestrian.
It’s a seemingly bright horizon for Tom Backster (Alex Wolff), a college sophomore who has just returned from his Florida residence to the Texas campus. He is a member of the school’s elite fraternity, a position he takes to heart with far more passion than any of his schoolwork. The group is just about to open its ranks to the incoming freshmen for initiation; however, a new disciplinary administration at the school has vowed to keep a more forceful eye on them to ensure no inappropriate activities occur. Tom’s roommate and good friend Mitch (Bo Mitchell) is a loud and boisterous figure who is particularly annoyed at one of the potential recruits, Gettys O’Brien (August Abrams). Despite his pleas, he is overruled by the fraternity’s president, Todd (Lewis Pullman), and his brothers. Yet, Mitch’s mental state grows more fragile and erratic as the process goes on, escalating into a violent encounter that will alter the lives of all these young men who have participated in such heinous action.
There’s a palpable tension that director Ethan Berger aims to create with this piece, descending into the chaotic and troubled landscape of toxic masculinity that is left unchecked by institutional privilege. It’s a frightening perspective to witness, and the consequences are chilling. However, this would have a greater impact if the dynamics of the relationships being explored weren’t so mundane. The arcs these characters are set upon are fairly standard in their construction, whether that be the outsider who feels compelled to join in on antics for fear of ostracization or the rich kid who can’t tolerate the sudden disrespect from a supposed inferior. The conflict that’s established has no complexity, as the ultimate culmination is not only predictable but lacks a specificity to bring more layers to these individuals. While a moody atmosphere is occasionally crafted, especially in the harrowing climax, it does not compensate for the tedious sequences of abuse that keep the momentum surprisingly stagnant.
This narrative struggles to build off of the basic foundation it has provided. Instead, it relies on familiar archetypes that have no actual definition to them. The friendship between Tom and Mitch is not particularly established as a deep bond outside of this frat, which would be acceptable if the chemistry between the two read as anything more than mostly cordial. The tension between Mitch and O’Brien is not established to the degree that such hostility is warranted from either party, with the latter’s insistence on continuing his pledge seeming like a more baffling decision as the weeks drag on. There’s even a subplot involving a romance between Tom and another student that is completely flat. Every bit of the storytelling, from the general characterizations to the thematic explorations, is satisfactory at best and mostly filled with banal examinations.
For their part, the actors all do a credible job at elevating the material they are given, or at the very least, deliver work that is captivating to a degree. Wolff is a good anchor, never portraying a revolutionary turn but one that is believable in these surroundings. He mainly has some effective emotional turns at the end that are engaging and a highlight of his performance. Mitchell is saddled with a one-note character, but he doesn’t do much to create a more layered portrait with his turn, either. Abrams has a sly presence to him that makes him a fascinating figure to watch, but the thin role once again makes it difficult to fully connect. The only member of this cast who makes a real impact is Pullman. He creates an alluring authority figure who can be equally charming and vicious. He’s the obvious standout, which is incredibly disappointing given the smaller roles inhabited by actors like Halle Bailey, John Malkovich, Cheri Oteri, Denise Richards, and Scoot McNairy. They are glorified cameos whose talents are utterly wasted.
The premise at the heart of “The Line” is very familiar territory that at one point may have had lines of complexity that aren’t particularly present anymore. This feels like one of the motivations for setting it in 2014 – a time when the “boys will be boys” attitude was more tolerable, and such incidents could slip by. Yet, there’s no larger discussion about this atmosphere beyond the basic revulsion one has on a human level. The results are surface-level observations that bring little novelty to this problem and provide hollow characters that are not engrossing beyond whatever abilities the actors themselves bring to the screen. Ultimately, the film may not have significant faults in its filmmaking, but the passable performances can’t save a story that treads water with its themes and doesn’t make a great effort to manifest a more interesting tale.
