La fraternidad

The Line brings forward an incredibly important topic that for so long felt taboo to discuss. As someone who spent formative years surrounded by people who were active in Greek Life, The Line tackles the toxic masculinity that is inherently built in to this centuries old "tradition". A tradition that should be fully audited and question about its place in the lives of such a formative aged participants. The performances are excellent across the board, with Alex Wolff (a raw nerve), Lewis Pullman (slimy and likable all at once), Bo Mitchell (a paragon of fragile masculinity), Hailie Berry (wonderfully defiant) and Angus Cloud (a truly tragic character) all doing what they do best, expertly directed and beautifully shot.

This movie started on an average note & continued to be predictable until the last third, where it seemed to hop & skip forward, omitting a lot of pertinent information, leaving the watcher with the feeling of...huh?...why would they/why didn't they....?what happened to....? Why did(or didn't)....? Etc. The poor editing definitely messed w the timing, made it unbelievable because of stupid things put in to purely wrap things up & ended the movie in a way that made me feel unsatisfied. There were characters that didn't add anything in the end so it felt like those storylines just walked off a cliff and other characters never gave you a full picture of how they were affected, grew or changed in the end. It just felt incomplete, like some pages were missing between the climax and the ending.

A provocative, damning and necessary exposé on the culture of Greek Life. This film blends artful and intimate cinematography with boisterous dialogue to deliver a chaotic and intense portrayal of fraternity pledging. While the film only scratches the surface of the characters' humanity, the protagonist's retrograde unraveling serves as a powerful commentary on the dangers of toxic masculinity, binge drinking, and herd mentality. The director does not offer an easy resolution, taking the audience on a journey into the depths of alcoholism with no glimpse of redemption for its pawns; this film demands serious conversation.

I had a boring college experience. I went to a small, Christian college where the idea of a "wild party" was ten people crammed in a small dorm, drinking cheap vodka mixed with Gatorade. Now, truth be told, I was too nervous to ever attend these events. After all, my school was a so-called "dry campus" and I didn't want to get into trouble for breaking the rules. Some six years later, I am currently 28 years old and find myself fantasizing over missed opportunities in my college days. What would my life be like if I took more risks, drank more alcohol, and perhaps even joined a fraternity? "The Line" seeks to answer those questions - how can a frat improve, or ruin, one's life? It's an intriguing premise that, unfortunately, devolves into a boring and predictable film.

Listen: I love, love, love (with a capital L) coming of age movies. I love coming of age movies that are light hearted and fun and goofy and romantic (Netflix's "Incoming" stands out as a recent example) and I especially love coming of age movies that turn dark and sinister and have characters undergoing a sort of moral test or dilemma. And from the quick one-sentence synopsis of "The Line," which is, "A university student lives life without fear of consequences," I expected one of two things - either a "Project X" style party romp, or a twisted sort of academic thriller. Unfortunately, "The Line" tries to be both, and does neither thing well.

Where to start with this movie? I guess with the positives? Why not. For one, the acting is good enough here (except for Halle Bailey, who I thought was completely miscast and undersold every single line she spoke - at times, the way she delivered things sounded like she was imitating a toddler in tone of voice, and I was flabbergasted as to what her approach exactly was; was she trying to be a "too cool for school" college student, or was it meant to be some ironic take on a character with an inflated sense of self-importance? Whatever the intention, it just didn't land). Virtually everyone is believable to the point where you can't tell that they're acting, which is really all you can ask from any film. Sure, sometimes the dialogue wasn't exactly the best written, but the way it was delivered made it possible to look past any potential shortcomings. Alex Wolff, Bo Mitchell, and Austin Abrams are the standouts here with performances that steal scenes and keep eyes glued to the screen - and luckily, all three of them have a substantial amount of screen time, meaning that, if you enjoy their acting, you'll find at least something to keep you invested.

And - in terms of positives - that's about it! Besides the performances, this movie is a drag that by no means had to be over 90 minutes long. "The Line" seemingly wants to show the negative effects of "Good Old Boy" fraternities by highlighting their casual racism, excessive indulgence, and complete disregard for the potential consequences of their actions. On paper, that sounds super interesting. In execution, "The Line" falls apart. Let's break it down, starting with the theme of casual racism. There's no question that old-school frats have a history steeped in exclusion and prejudice. "The Line" portrays its fraternity as a group that blatantly rejects people with darker skin. In one uncomfortable scene, the brothers chant "Too dark, too dark!" upon seeing the photo of an Indian candidate up for membership. The irony here is that the main character, Wolff, has an olive complexion himself, making the fraternity's superficial standards feel inconsistent and almost hypocritical, undermining the film's commentary on racial prejudice.

Now, let's talk excessive indulgence. "The Line" shows its frat bros chugging booze and snorting endless lines of a very certain and specific white powder. Both of these activities are risky, to say the least - yet the film doesn't seem interested in portraying them that way. Characters binge drink and overindulge in drugs with reckless abandon, but there's never a hint of any real consequences. No hangovers, no bad trips, no lasting effects. It's as if these self-destructive habits are just part of the scenery, stripped of any weight or danger, which ultimately undermines the film's attempt to critique the fraternity lifestyle.

And finally, let's talk about disregard for consequences. "The Line" is a slow, slow, slow burn - as in, for most of this movie, nothing really happens, and what does happen doesn't matter. During the final 30 minutes, something finally does happen; that said, what happens is incredibly underwhelming and incredibly predictable to the point where I was thinking to myself "There's no way this movie does exactly what I'm thinking it's going to do, right?" And lo and behold, it did indeed do exactly what I thought it was going to do, ending with a completely expected third act that does and says nothing new or interesting. I mean, without spoiling anything, all I'll say is this: Can you imagine a potential negative consequence of violent fraternity hazing? If you can, then you immediately know what happens at the end of this film.

I would like to call "The Line" a swing and a miss, but it doesn't even really swing. I so desperately wanted to watch a tight, taut thriller about the descent into madness one may go through when indulging in the cult-like mentality of fraternities, but instead I got a a bland, boring, faux slice of life and coming of age film that doesn't do anything innovative with its concept of the frat lifestyle. Ultimately, "The Line" feels like a wasted opportunity, squandering its potential to say something meaningful or memorable, instead opting for more of the same old, same old.

The Line offers an intense portrayal of fraternity culture, examining toxic masculinity and power dynamics within a fictional brotherhood. Berger's direction takes a very thoughtful, anthropological approach, vividly capturing the rituals and environment of Kappa Nu Alpha. Through authentic, immersive details, the film effectively conveys a sense of unease and realism. While its themes may not be entirely new, the depth and seriousness of its execution make it both compelling and unsettling. The movie challenges viewers to reflect on how traditions and unchecked behaviors can perpetuate cycles of harm and complicity.