In “Bad Genius,” Smart Teens Break Bad

Bad Genius (J.C. Lee, 2024) 3½ out of 5 stars

For many first-generation American teenagers, following their dreams can feel like a privilege. Parents leave everything they know behind to give their children a better life, so they are under increased pressure to succeed. But what would happen if one of these teens decided to break the rules? What if they were offered a chance to get what they want while still supporting their family? Therein lies the premise of Bad Genius, from director/co-writer J.C. Lee (Luce). Examining themes of race, class, and morality, Lee’s film is a solid debut feature that works within its budget to add a twist to a classic film genre.

Based on the popular Thai film of the same name, Bad Genius follows Lynn Wang (Callina Liang, Presence), a Chinese-American math prodigy attending the prestigious private high school Exton Pacific on a full scholarship. She lives with her father (Benedict Wong, Gemini Man), a laundromat owner, who wants to see Lynn succeed as an MIT scholar. Despite this, she secretly longs to attend the Juilliard School but feels that doing so would betray her family’s wishes. Opportunity knocks when Lynn’s best friend, Grace (Taylor Hickson, Giant Little Ones), hatches a plan to sell test scores for money. If she pulls it off, Lynn can afford Juilliard’s tuition while keeping her father’s business afloat. Nevertheless, the demand for test scores quickly escalates and the two find themselves in over their heads.

Lee and his co-writer, Julius Onah (also Luce), structure the narrative like a heist film. Lynn is the mastermind, finishing each test herself and developing a code to pass the answers to clients. Grace is her main accomplice, with Grace’s boyfriend, Pat (Samuel Braun, Castaways), providing funds. They make an engaging trio, with Lynn slowly becoming intoxicated by the ease with which they succeed. However, it is important to note the key difference between the three: Grace and Pat are rich white kids, and Lynn is not. That ease with which the former two move through life is an extension of their privilege, the likes of which Lynn does not, and will never, have.

That difference becomes even more apparent once Lynn meets Bank (Jabari Banks, Peacock’s Bel-Air series), a fellow prodigy and first-generation teen from Nigeria. Like Lynn, Bank suffers from serious generational guilt, but he is more willing to keep his head down if it helps him get a college scholarship. Years of being put on a pedestal have given Bank a more cynical outlook on Exton. Faculty members celebrate him for his intelligence, but he feels like he is only there to rake in cash from school donors. Jabari Banks’ performance grounds the film, and reminds viewers that consequences differ among Americans, even if they are both children of immigrants.

Lynn and Bank’s arcs echo themes of tokenism seen in Lee and Onah’s previous collaboration, Luce. However, Bad Genius has a ruthlessly faster pace and a heightened visual style. Lee tightly shoots each test-taking scene to show how close Lynn is to getting caught, with teachers lurking around out of focus behind her head. His use of whip pans and smash cuts keep things snappy, with editor Franklin Peterson (Fair Play) helping him piece together creative daydream sequences to illustrate how Lynn thinks. These choices help Bad Genius avoid feeling cheap and distinguish it from other high-school stories, which is a top priority for a debut feature.

Bad Genius is a taut heist film that uses its genre to explore the burdens of being a first-generation American. It ponders why they are rarely afforded the privilege of failure, and how that affects someone’s mental state over time. Furthermore, it critiques the transactional worldview of privileged Americans, thinking that everything and everyone have a price. Thankfully, people like Lynn and Bank already know their worth and won’t settle for less.

George W. Campbell

George W. Campbell is a director/screenwriter/editor from Bowie, Maryland, whose films focus on themes of family and personal relationships. As a Nicaraguan-American filmmaker, he aims to highlight specific parts of his culture and personal experiences (songs, dances, foods, and language).