A peculiar, heavy-handed and unconvincing dark comedy thriller, this film derives much of whatever appeal it possesses from the commanding screen presence of its lead, whose performances consistently captivate viewers. Director Jonatan Etzler, working with co-screenwriter Jess O'Kane, has fashioned the story from a Swedish source novel by Rasmus Lindgren titled De Oönskade, or The Unwanted, released in 2020. The film asks audiences to overlook significant plot-holes and implausibilities by framing itself as satire – yet the underlying message remains murky and unclear.
The story unfolds at a primary school in England's West Country, where Maria (Saoirse Ronan) serves as a dedicated, principled educator. Her classroom, however, faces constant turmoil caused by Danny (Eddie Waller), a violent and uncontrollable student whose behaviour escalates to seriously injuring a classmate. Following a disturbing encounter at Danny's home, Maria accidentally renders the boy unconscious using a chokehold, then panics and transports him to her residence, where she confines him in the basement. As Danny's absence transforms the classroom environment, the remaining pupils flourish academically and socially, and Maria receives glowing praise from school inspectors. Yet she must grapple with concealing her transgression.
How plausible is the film's central premise?
The scenario strains credibility in multiple ways. An unventilated basement where sanitary needs are addressed using a bucket would rapidly deteriorate into an unsanitary, foul-smelling space – hardly the clean, orderly environment depicted onscreen. Similarly, the mechanics of how Maria has managed to keep Danny restrained using an animal-restraint harness without rendering him unconscious or administering sedatives remains unexplained and unconvincing.
How does this film compare to similar stories?
The premise of imprisoning a person in a basement has become almost a recognisable sub-genre within horror and satire, with earlier films exploring comparable territory. Those earlier works succeed because they never disguise the depravity of their captors or obscure their intentions; they amplify the transgression to maximum intensity. By contrast, Bad Apples deliberately restrains its approach, maintaining the protagonist's relatability and moral complexity – apparently because her well-intentioned ordinariness forms the crux of the dark comedy. The film positions her as embodying what liberal, conscientious educators might secretly fantasise about: the ruthless removal of disruptive elements. However, the execution lacks sufficient comedic force or shocking impact to compensate for the laboured, implausible narrative, particularly as the story reaches its conclusion. Throughout, Ronan remains consistently engaging to observe.
What is the film's broader context?
The film marks Etzler's English-language directorial debut, following his work in Swedish cinema. The ensemble cast includes Eddie Waller as the disruptive student, Nia Brown as the teacher's pet Pauline, and supporting performances from Jacob Anderson, Rakie Ayola, Robert Emms, Sean Gilder, and Kerry Howard. The film runs for 1 hour and 40 minutes, positioning itself as a compact dark comedy thriller rather than an extended exploration of its premise.
When and where is the film available?
The film received its UK and US theatrical release on 18 September 2026, following earlier international rollouts in Germany and Italy on 10 September 2026 and Spain on 11 September 2026. The film had previously premiered at the Toronto International Film Festival on 7 September 2025, giving it a year-long festival circuit before its wider theatrical distribution. Australian audiences will have access to the film from 19 November 2026, with streaming and digital platforms offering the title from 18 September 2026 onwards. Despite the presence of a major star and the festival exposure, the film has maintained a relatively low-profile rollout across territories.
