Just how far does the apple fall from the tree? And can you push it away quickly enough to stop it from spoiling the entire batch? It's one of several questions kicking around in Jonatan Etzler's twisted English-language debut Bad Apples, which deviously interrogates "the greater good" as it follows a primary school teacher keen to get one student's unruly behaviour under control before it has reckless consequences on her job and students.
A satirical, darkly funny effort that thankfully commits so confidently to its challenging tone and wicked premise early on, Bad Apples is able to reap the rewards and deliver a wildly compelling and genuinely thought-provoking feature. Adapted for the screen by Jess O'Kane, Bad Apples asks how best to handle society's delinquents, but offers no intention of answering its own question, refusing to pick sides or cast too many aspersions; instead, it provides you with the character, contextualises the scenario, then places them on the slippiest slope imaginable to see how they react - the results, are, for the most part, thoroughly entertaining.
For the first hour or so, Etzler manages to impressively balance the precarious tones of Bad Apples, slicing between the dark intensity with the laugh-out-loud laughs thanks to smart camerawork and zippy pacing, which keeps the film rollicking throughout its twists and turns. Even when the entertainment factor runs the risk of overwhelming any thematic discussions, Etzler keeps the satirical analysis relatively central to the film and it provides with a richer understanding
A great deal of it is thanks to just how superb Saoirse Ronan is here. Undoubtedly one of the most skilled actresses of her generation, Ronan has struggled in recent years to build a filmography worthy of her talent. And while Bad Apples' more rompy tone means it won't stand amongst the higher-brow successes of her earlier career, it's a brave and audacious role to undertake. Inviting us into Maria Spencer's frazzled, out-of-her-depth headspace, Ronan fearlessly wades through uncomfortable material and murky topics, offering a clear-eyed depiction of an individual who is anything but. Less experienced performers may be tempted to more easily villainise, but Ronan's shading of "Miss" is as well-dialled and sophisticated. Opposite newcomer Eddie Waller, whose demonic commitment to Danny's unhinged actions again seeks to level the playing field without presenting a winner, the pair craft a compelling, ever-evolving dynamic that is fascinating to watch unfold. Similarly, in her first film role, Nia Brown plays young Pauline terrifically, leaning into - and exploiting - the "star pupil archetype" with gleeful abandon.
For better or worse, Jonatan Etzler's Bad Apples is utterly its own thing, committing to its precarious, challenging tone from beginning to end and reaping those rewards. Ultimately, your mileage with Bad Apples completely depends on how accepting you are of its wildly audacious finale, an incredulous ask requiring an unbelievable suspension of disbelief that may be enough for general audiences to disconnect entirely. But those appreciating the wild swing and unconventionality of its grand finale will only see it as another bend in the wild rollercoaster of this twisted, enjoyable rider. With Etzler's engaging, tonally-charged direction and a reliably committed performance from Saoirse Ronan and her supporting cast, it's worth taking a bite out of Bad Apples - but be warned, it may be a little tart for some.