There is something deeply wrong and deliciously dark about Bad Apples that seep between the cracks of this pitch-black comedy. It casts a caustic eye over the opportunistic impulses of educational institutions when it comes to maintaining their place in league tables. Turning a blind eye to unruly elements that might otherwise upset the apple cart, when people take matters into their own hands.
On the surface Bad Apples puts Oscar nominee Saoirse Ronan up against a scenery chewing turn from Eddie Waller as Danny, posing moral and ethical questions early on. Audiences are asked to empathise or condemn, condone or cast judgement on everything that follows from the moment this bad apple takes things too far. Director Jonathan Etzler draws in his captive audience and paints a seemingly superficial portrait of Danny tempting those quick to cast aspersions.
Saoirse Ronan peppers her portrayal of Maria with nervous tics relinquishing any authority moments after he sweeps into the classroom. It is an understated depiction of victimisation in an environment where respect is in short supply. These moments tap into childhood trauma and unsettling anyone who was ever bullied.
Image Courtesy of Pulse Films
Waller is on a par with Owen Cooper in the latter moments of Adolescence, veering between blind rage and moments of timid manipulation designed to make Maria drop her guard. Danny is a powder keg of unchecked aggression lashing out at others to hide his insecurities, finding comfort in the parental role Maria slowly takes on. The moral argument of kidnapping and incarceration still loom large throughout, but oddly they are quickly superseded by the central relationship.
Despite the circumstances and her actions, Maria remains relatable while the comedy lands in unexpected ways. Much of that is down to the delicate line both Ronan and Waller walk in building their on-screen relationship. Flashes of adolescent vulnerability are underpinned by the nurturing nature of Maria and her skill as a teacher in love with learning. It is a treacherous path to navigate, but one that this Oscar nominee treads with a firm footing.
As a result, Bad Apples is an unexpected pleasure that takes tried and tested tropes familiar to audiences everywhere and gives them a new lick of paint. It maintains a distinctly English identity through the bleak moments of pitch-black comedy but also taps into something more universal. Not only ending on an upbeat moment of ambiguity but delivering a jaw-dropping epiphany that is ultimately optimistic.
Bad Apples comes to cinemas September 18th.