Directed by Gerard McMurray
Starring – Y’lan Noel, Lex Scott Davis, Marisa Tomei
The Plot – Behind every tradition lies a revolution. Welcome to the movement that began as a simple experiment: The First Purge. To push the crime rate below one percent for the rest of the year, the New Founding Fathers of America (NFFA) test a sociological theory that vents aggression for one night in one isolated community. But when the violence of oppressors meets the rage of the marginalized, the contagion will explode from the trial-city borders and spread across the nation.
Rated R for strong disturbing violence throughout, pervasive language, some sexuality and drug use
– For the first hour of this film, I honestly didn’t care about a single one of these characters. But then something interesting happens for their dynamic during the third act. Instead of the drug pushers that we have come to know up to that point, we instead start to see them for being these merchants of sorts for the streets they vow to protect. Because of this, for the first time in the film, it feels like everyone is working together, bringing to life the Us versus Them mentality that the Purge series of films have thrived on.
– Speaking of third acts, the apartment complex finale in this film is arguably my favorite choreographed action sequence midway through the 2018 movie year. Shot competently with enough claustrophobia for angles, as well as sharp, precise bodily movements for the actors involved, the final fifteen minutes of the film will send people home with the kind of adrenaline that they have been itching to see. The film elevates itself at the right moments, and because of such sends audiences home during the biggest edge-of-the-seat moments of the film.
– In regards to the event itself, it’s interesting to rewind and see the inception of such an idea, and how something so extreme gets introduced into society. As a screenwriter, what I appreciate most from James DeMonaco is his logic in cause-and-effects, and not feeling the need to get caught up in answering every single question. Instead, the script allows the audience to fill in the blanks, comparing and contrasting the similarities and differences in our own real world society that always feels one step away from such actions.
– The nightmare imagery of this film is among the most disturbing that I have seen for the series thus far. Aside from the creepy and innovative masks that we’ve come to expect, what really gave me chills were the close-ups of facial reactions that relate that introduction to mayhem the first time they get a taste for blood. It really conjures up that feeling of ambiguity with those we come into contact with daily, bringing to light the issues involved with trust that makes each of these characters feel so isolated.
– There’s much raw and untapped direction in the film’s cinematography that makes it feel like something straight out of 70’s B-movie cinema. The film opens up with these close-up shots while interviewing citizens for the Purge, inter-cutting it with these candid looks at the Staten Island neighborhoods surrounding us, to omit off that yellow gloss of street light color that other films have to pay extra in effects work to obtain. Simply put, this film does what Superfly didn’t.
– Once again, there is no dimensions of depth to the cartoon government antagonists that adorn these movies. Perhaps my disdain for this angle wouldn’t be as strong if it wasn’t redundant in every movie, and just once attempted to present relativity to their sides of the story. When you need a villain, a government agent in a suit is always a sure thing, but it doesn’t mean that we should any and every time.
– This film has some of the worst blood splatter effects work that I have seen in quite sometime. There are times when you have to look close to spot it, but the unorthodox reds that spit from wounds like an open spigot, do so with such a lack of believability amongst their overall presentation that have you fighting back laughter. During the occasions when it’s close to the screen, it does the cliche splatter effect when it hits us in the face. I’ve always had a problem with this logic, because what exactly is it hitting if we’re supposedly watching real events played off in real time where there are no cameras?
– As I mentioned earlier, the character development doesn’t kick in until late in the third act, but the acting work itself offers this element very little assistance. Noel isn’t bad as a protagonist, but he’s often relegated to maintaining the drug lord persona when the film so desperately wants him to have these traits of heart. Beyond him, everyone else often feels like they’re amped up to eleven, guided with the kind of direction that constantly reminded me that I was watching characters and not actual people. If the film wasn’t trying to take itself so seriously, and was more of a spoof, it would be fine, but the animated deliveries from some truly cringe-worthy lines of dialogue is too much to overcome.
– I feel like the first act of the film is easily the weakness for the movie, and there’s plenty of places to point at because of why. First, the backstory of the world at that point is rushed by in a one minute montage that gives us the cliff notes to questions that double after this information. Second, there’s never enough influence of government during these scenes, leaving much of the debate of parallel worlds feeling one sided. Finally, for the supposed first purge ever, there’s very little explanation of the rules considering these people are doing it for the first time. Should we assume they know because of their appointments with government officials? Wouldn’t it have been easier to explain it all on the TV briefing when we are minutes away?
– Time period? There’s many elements to this film that made me scratch my head for when this film is supposed to be taking place. For instance, in the original Purge movie from 2013, the film so bluntly states that it takes place in 2014. How can that be possible when in this film set sometime before then, we see a Blumhouse Halloween poster from a movie that is coming out in the fall of 2018? It’s obviously an Easter egg for their future schedule, but its inclusion is an immediate soiling of any time immersion that you have in the film. If this isn’t enough, the film’s use of technological advances in computer generated contact lenses and drones that fly over and film the action, are nowhere to be found in later Purge installments. Why would they introduce this in the first Purge and never again?