Throughout the decades, many films have examined fraternity brotherhood and the violence associated with hazing, often reflecting on the impact these practices have on the reputation of Greek life. Ethan Berger’s “The Line” may not break new ground in addressing the toxic masculinity prevalent in these settings, but it offers a gripping thriller that probes the darker realities of unchecked behavior. Berger endeavors to explore one character’s struggle with self-doubt and his quest for respect—an aspiration to forge meaningful connections that transcend his small-town upbringing and financial limitations, even if it means crossing ethical boundaries.
Tom (Alex Wolff, adopting a Southern drawl) has just begun his sophomore year at Sumter University, having largely set aside his academic goals for his fraternity, Kappa Nu Alpha (KNA). Seen as a potential successor to the current senior president, Todd (Lewis Pullman), he is eager to prove himself worthy of a fellowship that could open doors to professional opportunities. However, he is held back by his best friend and roommate, Mitch (Bo Mitchell), the son of a prominent KNA alumnus (John Malkovich). Mitch is governed by his own rules and shows little concern for how his behavior affects others, irritating his fraternity brothers (among them the late Angus Cloud in one of his final performances).
With the new school year comes a fresh group of pledges, including Getty (Austin Abrams), who resists authority and rebels against the fraternity’s ritualistic demands. This attitude irritates Mitch, leading to rising tensions within the group. It’s evident that Mitch has exploited his privilege to gain a foothold in a fraternity that seems disinterested in him. Tom attempts to maintain their friendship, but Mitch’s mental instability and abrasive personality are pushing him to his breaking point.
As tensions escalate, the story veers into unethical territory, revealing how far Mitch and his peers will go to circumvent the school’s hazing policies during off-campus retreats. The “retreat” becomes a crucial moment in “The Line,” making a statement about the cycle of abuse that fraternities often normalize.
Amid this, Berger sometimes struggles to balance the massive ensemble cast, including a romantic subplot involving Annabelle (Halle Bailey) that it seems to all but forget about. Still, it doesn’t refrain from taking the easy way out, illustrating the difficulties faced by an everyday working-class kid trying to navigate a system designed to favor the wealthy elite. The film ends on a bleak, yet not surprising note, emphasizing that accountability remains elusive when money and power can always manipulate the rules.
THE LINE opens in select theaters nationwide Friday, October 25th.