The trouble with such films — really, with any story set in a rigidly conservative institution, be it a mental hospital (“One Flew Over the Cuckoo’s Nest”), boarding school (“Dead Poets Society”), boot camp (the first half of “Full Metal Jacket”), or conversion program (“The Miseducation of Cameron Post”) — is that they inevitably feel like prison movies, falling back on reductive tropes (like the idea that the authority figures are hypocrites) to make the case that the only solution is to break out.
“Fake it till you make it,” says an authoritarian ex-inmate figure (Flea, in the prototypical R. Lee Ermey role from Full Metal Jacket ) as he instructs the teens to take a combative stance, then has them ranked according to “manliness.”
The scenes set at Love in Action are so by the book that you just assume one of the kids will be abused by a sadistic counselor and another will be so Full Metal Jacketed by the dehumanizing doctrine that he'll off himself by Act 3.