So much for retirement, eh, Chloë? Or are you still working your way up to that point. How am I supposed to know?! Your personal life is so hard for pathetic dudes to follow and make their business.
The story looks like it’s about a young woman who is sent to a camp that tries to convince her that her homosexuality is a disease that needs to be purged, but finds a small group that sort of low-key rebels against the system.
Here’s the cast. Starring, we have Chloë Grace Moretz (NEIGHBORS 2 , HUGO , and upcoming films SUSPERIA  and THE ADDAMS FAMILY ), Sasha Lane (HEARTS BEAT LOUD , AMERICAN HONEY , and upcoming films AFTER EVERYTHING  and HELLBOY ), John Gallagher Jr. (BELKO EXPERIMENT , 10 CLOVERFIELD , and upcoming films PEPPERMINT  and UNDERWATER ), Forrest Goodluck (THE REVENANT , and the upcoming SNOWBLIND ), and Jennifer Ehle (FIFTY SHADES FREED , and upcoming films THE PROFESSOR AND THE MADMAN  and VOX LUX ).
Now for the crew. Directing and co-writing, we have Desiree Akhavan, known for stuff that I’ve either never seen or heard of. Akhavan’s partner-in-pen is Cecilia Frugiuele, known for stuff that I’ve either never seen or heard of. Composing the score is Julian Wass, known for stuff that I’ve either never seen or heard of. The cinematographer is Ashley Connor, known for MADELINE’S MADELINE (2018). Finally, the editor is Sara Shaw, known for stuff that I’ve either never seen or heard of.
Overall, this looks like it could be pretty good. I feel like I know what’s going to happen though. She’s going to go to this camp, rebel against it, find romance anyway, at the very least, she’s not going to go home and her fate will be ambiguous.
This is my honest opinion of: THE MISEDUCATION OF CAMERON POST
Set in the 1993. Cameron “Cam” Post (Chloë Grace Moretz) has been sent to a Christian camp, called God’s Promise, for rehabilitation after getting caught kissing a girl. While there, she makes friends with Jane (Sasha Lane) and Adam (Forrest Goodluck), who secretly reject the self-hating, while navigating her own feelings regarding her sexual orientation.
Oh man, I started this review late and I’ve already seen the rest of the movies this week, so I think I might have forgotten everything regarding this flick. But alrighty, here goes nothing. At initial callback… I think it’s good, but nothing that hasn’t been done before. It’s just… standard.
As per usual, Moretz shows her talent. She mostly plays Cam like a shy recluse, but she does it so well, and her character does somewhat evolve over the course of the story, becoming more and more outspoken and uncertain about how she should feel about herself. There are some good scenes, especially toward the end, with how she questions the camp’s sensitivity toward troubling matters and even calls out the program exactly as it is: emotional abuse. Beyond that, were it not for Moretz’s natural likability, the role would be pretty dull. Really, what does Cam do? She mostly sits around listening to other people’s past “mistakes” and we learn more about them than we do about her. If I were to hazard a guess, she’s supposed to be the “every girl,” the blank slate we can all put ourselves in and what have you, but the “every person” is officially a cliché in my book. It’s such a cop out when the story just doesn’t know what to do with its protagonist. Bottom line, not a bad performance, Moretz is just deserving of a better role.
Moretz aside, the acting is still pretty good from everyone. Lane, Goodluck, Gallagher Jr., Ehle, everyone does a great job. Although, I think the scene stealers come from Emily Skeggs as Erin, and Owen Campbell as Mark. Erin is the one of the more steadfast and true believers of the therapy, highly enthusiastic about “getting better.” However, it seems that she still succumbs to her urges when she has a lesbian love-making session with Cam in the middle of the night, but as soon as Cam has an orgasm and Cam attempt to return the favor, Erin rejects her, and says that she does want to improve herself. And there’s a scene with Mark, who has been so happy that he might be able to go home soon. However, his Christian-reborn politician father denies him from coming home, believing that he’s too feminine, to which Mark essentially snaps during a group therapy meeting. There’s more that happens later, but his role is very heartbreaking and Campbell put on a great performance.
Actually, some of my memory is coming back, another scene stealer is Ehle as Lydia. Lydia is such a conniving and manipulative woman that every time she’s on screen, my skin crawled. All I wanted to do was scream at the screen and tell her to shut the fuck up, but… I didn’t… because that would be crazy. Anywho, Lydia has an almost artistic knack for taking how someone feels and turning it on itself to the point where you almost can’t argue with her outside a childish, Trumpish, “Wrong.” She’s almost that kind of villain that you love to hate. What’s sad is that you know she’s just a product of her own beliefs.
I reiterate my occasional hate for organized religion.
Overall, it’s not a bad movie, but it’s nothing that you haven’t seen before and it’s a pretty predictable persecuted homosexual movie. I mean, if I told you it’s about a teenage homosexual girl in the 90’s going to a Christian camp to proverbially whack the gay out of her, it plays out exactly as you would imagine and ends exactly as you would expect to, so there’s no real surprises. The acting is fine from the core cast, especially from the supporting roles, but it’s likely not an accident that I barely remember this movie. It’s forgettable, especially if you’ve seen movies like this before and done better. As a recommendation, I say save it for a rental. I mean, the movie’s likely out of most theaters anyway, as the theater I went to for this only showed it for less than a week. Just bare in mind that it’s nothing particularly special.
My honest rating for THE MISEDUCATION OF CAMERON POST: 3/5
This week’s reviews
Next week’s reviews:
- OPERATION FINALE
- THE LITTLE STRANGER
- LET THE CORPSES TAN / LAISSEZ BRONZER LES CADAVRES
- YA VEREMOS / WE’LL SEE