Archive for the Masks Category

THE LONE RANGER (2013)

Posted in 2013, Action Movies, Based on TV Show, Cinema Knife Fights, Garbage, Johnny Depp Movies, Masks, Period Pieces, Westerns with tags , , , , , , on July 8, 2013 by knifefighter

CINEMA KNIFE FIGHT: THE LONE RANGER (2013)
By L.L. Soares and Michael Arruda

loneranger(THE SCENE: The Interior of a steam locomotive. The year is 1896. In the saloon car, L.L. SOARES sits back in his seat and lights a cigar, as MICHAEL ARRUDA arrives and sits down across from him)

MA: Ahh, we finally have the chance to travel in comfort. This is pretty sweet.

LS: And I’ve already ordered our drinks.

(Waiter brings a tray over to their table and puts a glass of whiskey down before LS, and a pint of ale in front of MA)

WAITER: Will there be anything else?

LS: I think we’re fine for now.

MA: Can we have some pretzels?

WAITER: Certainly.  (leaves)

MA: You picked a nice place for us to review THE LONE RANGER. Usually when you start things off, we end up on the roof of a tall building or in the middle of a gang war. Nice to be able to relax for a change.

LS: Drink up, my friend. I’ll even begin the review for you.

MA: Please do.

LS: As you said, this week’s movie is THE LONE RANGER, based on characters who go all the way back pre-television radio serials. Although Michael and I are more familiar with the popular TV series starring Clayton Moore as the Lone Ranger and Jay Silverheels as his sidekick, Tonto. We saw the show in reruns when we were kids, and while I didn’t exactly love it, I remember it being enjoyable enough.

This new movie version of the story features Armie Hammer as the titular ranger and Johnny Depp as his Native American sidekick, Tonto. I think it’s safe to say that the new movie takes a lot of liberties with the concept.

MA: Yeah, it’s a “little” different from the old TV show.

(WAITER returns with a basket of pretzels)

MA: (looks at LS) That’s it? Pretzels?

LS: Whatever do you mean, my good man. You asked for pretzels.

MA: No surprise ambush of bad guys? No tribe of angry Indians? Usually when you start these things, I’m in for some kind of shish-kebobbing.

LS: Nothing of the kind.

WAITER: Will there be anything else?

LS: Not for the moment.

Basically, THE LONE RANGER is an origin story, as we meet John Reid (Armie Hammer, who played both of the Winklevoss twins in the movie THE SOCIAL NETWORK, 2010) in 1869. He has just come back after going to law school in the East. He’s returned to Colby, Texas to be the town’s new District Attorney. His first case is going to be the trial of outlaw Butch Cavendish (William Fichtner, who played Alex Mahone in the Fox TV series, PRISON BREAK). Reid’s brother, Dan (James Badge Dale, who also had roles in this year’s IRON MAN 3 and WORLD WAR Z) is the town’s sheriff, and is known for being pretty heroic. The make things more complicated, Dan’s wife, Rebecca (Ruth Wilson) has strong feelings for John and it seems like she married the wrong brother.

Anyway, the train bringing Cavendish to town is hijacked by Butch’s gang of outlaws, and he escapes the law. John is on the same train, and barely escapes with his life. John also meets a Native American prisoner named Tonto (Johnny Depp), whose face is painted chalky white like death, and who wears a hat made out of a dead crow. Who is this guy? And why is he also captive in the same train car as Cavendish? It’s never really clear why he’s chained up beside the outlaw in the first place.

MA:  And that’s a problem—one of many—that this movie has.  There are a bunch of things that are never clearly explained.

LS:  In a really good movie, I don’t feel the need to have everything explained to me. The problem is, this is not a really good movie.

Anyway, Tonto also gets away after Sheriff Dan and his boys stop the runaway train (which was sabotaged by Cavendish’s gang).

John insists on going along with brother Dan and his men, and Dan deputizes John for the job (even though, John, stupidly, refuses to carry a gun – this is the wild west after all).

MA:  I liked the fact that John refused to carry a gun.  But this disdain for firearms doesn’t last throughout the whole story, which is too bad.  I seem to remember that Lone Ranger fought his battles without guns, but maybe I’m wrong.  I think he didn’t shoot to kill, that’s what it was.  I think he tries to shoot to kill in this movie, but he’s such a bad shot it doesn’t matter.

Have I said yet that I thought this movie was stupid?

LS:  No, but I’ll say it as well. It’s stupid and a waste of time!  Now let me get back to my plot summary so we can finish this review and enjoy our train ride.

The good guys track down the outlaws and there’s an ambush, where just about everyone is killed. Tonto arrives on the scene after the outlaws have taken off to bury the bodies, and ends up taking part in the strange resurrection of John Reid when a wild white stallion comes and stands by John’s grave.

MA:  Which is another thing that isn’t explained properly, how does Tonto get out of his prison cell and be free to discover John and the bodies of the slain rangers?

LS: I just stopped caring early on. Must have been some sort of magic, I suppose.

Revived from death (it’s never clear if he was every really dead), John seeks revenge on the men who killed his brother, with shaman-like Tonto at his side. Meanwhile, Cavendish and his men have teamed up with a corrupt railroad baron named Latham Cole (Tom Wilkinson), who also has a U.S. Calvary captain, Jay Fuller, in his back pocket (Capt. Fuller seems to be an awful lot like historical figure, General George Custer). So it’s basically Reid and Tonto up against a whole bunch of corrupt individuals.

Oh yeah, and Tonto gets Reid to wear a mask that covers the top part of his face, because the bad guys think he’s dead. I’m not sure why this matters. If people think he’s dead, wouldn’t it be scarier if he didn’t wear the mask? Wasn’t it Batman who said something about striking fear in the hearts of criminals? I guess the Lone Ranger missed that lecture.

This one is directed by Gore Verbinski, who also collaborated with Johnny Depp on the wildly popular PIRATES OF THE CARRIBEAN films.

I have to admit, I really didn’t find a lot about this movie to like. One of my biggest problems is its length. At 149 minutes, THE LONE RANGER is just about two and a half hours long. And with the exception of the train being sabotaged by Cavendish’s gang early on, the first two hours crawled at a snail’s pace for me. I didn’t care about these characters, and there are long stretches were nothing seems to happen but backstory, and I found myself struggling to stay awake a few times. Hell, let me be honest, I was bored out of my skull for most of the running time! This is pretty odd, considering THE LONE RANGER is a big budget action blockbuster. The key word being ACTION. There didn’t seem to be an awful lot of action for most of the movie. In the last half hour or so, things suddenly get interesting again, and we get treated to some major action and happenings, but it takes us about two hours to get there! What the hell was Verbinski thinking?

You can’t make an action movie where it doesn’t really hit its stride until the last half hour!

MA:  True, but I had many more problems with this movie than just its lack of action.  I didn’t even like the action sequence at the end, even though parts of it are pretty cool.

LS:  There’s also a framing story that involves a young boy, Will (Mason Cook) who is visiting a wild west show in 1930s San Francisco and who comes across a very old Tonto, who seems to be living in one of the exhibits (called “The Noble Savage in his Native Habitat”). Tonto then tells the story of the movie as an extended flashback. I normally hate framing devices, and this one didn’t change my mind. I have no clue why so many directors love the idea of having framing scenes at the beginning and end of movies of characters who are telling us the tale in flashback. Just start things off with a bang with the actual movie, for chrissakes!

MA:  I hated this framing story.  It gets the movie off to such a slow start, which as you said, in terms of pacing, the film never really recovers from, and every time they return to this framing story, all it succeeds in doing is slowing things down even more.  They could have cut all these scenes and easily shaved 20 minutes of the running time.

LS: They could have cut a lot more than that.

Things don’t get interesting until two hours into the movie, and by then I had pretty much given up on it as a long, drawn-out, snooze. Armie Hammer has about the same charisma as a mannequin here, which is too bad, because he’s normally not a bad actor.

But, really, there aren’t many characters worth caring about in this movie.

MA:  By far, the character of The Lone Ranger was the worst part of this movie for me.  It wasn’t so much Hammer’s performance, although I agree with you he has no charisma here and isn’t interesting, but the way writers Justin Haythe, Ted Elliott, and Terry Rossio constructed the character.  He’s pretty much a joke in this movie, and as a fan of the character, this new interpretation left me feeling very disappointed.  He’s kind of a bumbling goofball which isn’t the way I remember the character at all.  What these folks did to the Lone Ranger reminds me of what Johnny Depp did to Barnabas Collins in last year’s DARK SHADOWS remake.

LS: All I can say is, don’t hold any shows or movies from your childhood too sacred, because someone is going to come along and screw them up for a new audience eventually. It’s only a matter of time.

MA: I liked Hammer at the beginning, and I liked how John Reid was this innocent lawyer who didn’t really understand the workings of the Wild West, but after his brother is murdered, I expected him to change, to have a revelation and come back as an avenging force.  But this isn’t what happens.  He becomes sillier.  It just rubbed me the wrong way.

LS:  You would think that Depp took the role of Tonto as some meaningful attempt to tell the true story of Native Americans in the old West, but his performance isn’t that insightful. His Tonto is really little more than comic relief.

MA:  I actually didn’t have a problem with Depp’s performance here, and I liked him much better as Tonto than as Barnabas Collins.  I thought he was pretty funny throughout THE LONE RANGER.  He’s certainly the dominating character in the movie.

But you know what’s wrong with this?  The movie isn’t called TONTO.  It’s called THE LONE RANGER.  The way this entire story is presented in this movie is a real mess.  I kept thinking, why make a movie about the Lone Ranger if you really didn’t want to focus on the guy? Because that’s what’s going on here.  He’s simply not the main focus of the story, which makes no sense to me.  I mean, his friggin brother gets murdered in front of him.  He has all the reason in the world to become this really interesting dynamic character, but instead he acts like a buffoon.

LS: I agree.

MA: And even though he is a buffoon he’s not funny.  He’s actually the straight man to Depp’s Tonto.  Hey, let’s make a LONE RANGER movie and cast Jerry Lewis as Tonto and Dean Martin as The Lone Ranger.  Actually, Martin would have made a more interesting Lone Ranger than Armie Hammer, even if he sang a few songs.

LS:  I always liked Dean Martin, and he was in some westerns when he was alive. Believe me, he would have been an improvement. But Jerry Lewis as Tonto? Sadly, this isn’t too far from that.

I also found things like a running gag where people keep asking the Lone Ranger “What’s with the mask?” to be pretty useless.

William Fichtner, who is usually pretty good, starts out pretty well as Cavendish, who has a harelip that reveals a silver tooth, and who isn’t adverse to eating human flesh now and again, but it’s not long before he turns into just another one-dimensional bad guy (actually, he’s little more than a henchman for Latham Cole, which is really too bad).

MA:  I liked Fichtner well enough, but the problem with his character is, they make him really evil early on— he actually eats a guy’s heart, for crying out loud!— but this is a Disney movie, and so he can’t get progressively more evil as he normally would in a well written movie, which means he gets stuck with nothing to do because if he did anything, it would probably be too horrifying for a Disney flick.

LS: Agreed. They painted themselves in a corner with that one. Cavendish gets less scary as the movie goes on, not more.

Tom Wilkinson is okay as railroad baron Latham Cole, but the problem is we’ve seen this character—or ones just like him—in dozens of movies before, and Cole just doesn’t bring anything new to the table. Another corrupt businessman in the early days of the railroad? Haven’t those been done to death by now?

MA (yawns):   I’ll say.

LS:  Helena Bonham Carter, as a brothel madam named Red, has some inspired moments, with her colorful clothes and a prosthetic leg made out of scrimshaw (and that doubles as a gun!), but she’s not in the movie enough to keep the boredom from setting in for long stretches. The scenes she’s in, though, are improved by her being there.

MA:  I agree.  Not that I really liked her character, but she was far less boring than most of the other folks in it.

I liked Ruth Wilson as Rebecca Reid.  I thought she was sufficiently sexy and voluptuous.  I wish her character had been more important in this movie.  It would have been nice to see her do more.

LS: Yes, she’s completely wasted. She might as well have been part of the scenery.

You know…I just really hated this movie!

MA:  I started out liking it— once it got past its silly framing story— but as it went on it gradually went downhill for me until, like you, I ended up not liking it at all.

LS:  It was overlong, boring, and had characters that did not keep me interested. What little action there is, mostly amounting to a big chase involving locomotives, comes too little too late, and I felt like I was being tortured for most of the movie’s running time.

How can you mess up a mindless action movie? By trying to give it more smarts than it really has, and by dwelling way too long on aspects of the story that just aren’t that interesting. Oh yeah, and forgetting to put enough ACTION into the damn thing.

Depp’s version of Tonto is just another in a long line of eccentric characters, like Captain Jack Sparrow. Between one-liners, mugging for the camera, and pretending to feed bird seed to the dead crow he wears on his head, this Tonto comes off more as a silly jester than an attempt to provide a realistic Native American character from this era. Tonto is humorous enough – not anywhere near as irritating as Depp’s take on Barnabas Collins—but he’s certainly not some great, iconic character here, either.

Armie Hammer plays Reid/the Lone Ranger as a one-dimensional good guy, which might have worked in the 1950s, but who just seems superficial and dull today.

MA:  I don’t even think he would have worked in the 1950s, unless he was co-starring with The Three Stooges, maybe.

LS:  I give the movie half a knife, for the half hour at the end when THE LONE RANGER finally remembers it’s supposed to be an action film. And for the times—which couldn’t have been more than once or twice—when Tonto elicited a chuckle from me. But overall, I had no use for this movie and considered it a waste of two and a half hours of my life.

cavaleiro-solitario-poster-001

What did you think, Michael?

MA: That’s it? What do I think? Where’s the falling chunk of mountain to conk me on the skull? Or maybe the train will suddenly derail and cut me in half.

LS: You’re being paranoid, my friend. There are no surprises planned for you. It’s just two guys sitting around with drinks, discussing a movie.

MA: It’s never just two guys sitting around discussing a movie with us— I don’t get it.

LS: Look, the movie this time was so awful, I figure I’d make the review as painless as possible. Why do we need gags, when the movie itself is a joke?

MA: Well I certainly agree with that.  And I can’t say that I’m disappointed.  I’d rather finish this review than be sidetracked thinking of ways to get you back.

I didn’t like THE LONE RANGER either.  I also didn’t really like the last half hour.  I’ll admit, the concluding action sequence at times is pretty impressive, and reminded me of some of the action sequences in the PIRATES OF THE CARIBBEAN movies, but you know what really ruined it for me?  The music.

The film actually has a decent score by Hans Zimmer, a guy who has an incredible list of credits.   He just did the music for MAN OF STEEL (2013), and he wrote the scores for THE DARK KNIGHT (2008), THE DARK KNIGHT RISES (2012), and the PIRATES OF THE CARIBBEAN movies, to name just a few.

And his score here for THE LONE RANGER is also very good, but in this concluding sequence, they finally introduce the William Tell Overture, the classic piece of music that used to accompany the old Lone Ranger TV show, and the radio show before that.  So, I guess they had to put it in the movie, but man, it seems way out of place.  It just makes things so silly.  I almost expected the action to switch gears and be shot in fast motion here.

Did I say this movie was silly?

That’s the biggest problem I had with THE LONE RANGER.  It’s way too silly.  I saw this film over the July 4th holiday with a bunch of family members, and they all loved it, and they told me one reason they liked it was it was so funny, but I tried to explain that there’s a difference between funny and silly.  Johnny Depp as Tonto was funny.  But the rest of the film was goofy, and to me, it ruined the character of the Lone Ranger.

(LS calls the WAITER over)

LS: We’re almost done with our review here. How about bringing over the special drinks.

WAITER: Of course, sir.

MA: Special drinks?

LS: Do go on.

MA: I liked how this one opened.  I liked the ambush scene.  I liked how villainous Butch Cavendish cuts out Dan Reid’s heart and eats it.  This was some potent stuff.  I expected the Lone Ranger to become this really cool character after this, to avenge the death of his brother.

Granted, I wasn’t expecting an R rated action film, but I was expecting a PG-13 rip rousing action adventure that had me cheering, not groaning.  Not cringing, or wincing, or otherwise rolling my eyes in disgust.

It’s obvious they were going for a repeat of the PIRATES OF THE CARIBBEAN formula.  Now, Johnny Depp did his part, creating a rather memorable Tonto, but unlike Captain Jack Sparrow in the PIRATES movies, Tonto is not the main character here.  He can’t carry the movie.

And in PIRATES you had Orlando Bloom as a rather serious character who offset and gave balance to Depp’s shenanigans as Jack Sparrow.  You don’t have that balance here in THE LONE RANGER.  You have Armie Hammer doing his best Zeppo Marx impersonation.  Which Marx Brother is Zeppo?  Exactly!  He’s the one no one remembers!

I liked the ambush scene, I thought Johnny Depp was enjoyable as Tonto, but that’s it. The rest of the film I found to be a foolish goofy mess that I wish I hadn’t seen.

I give it one and a half knives.

WAITER:  Here are your drinks.

MA:  Thanks.

LS:  Drink up. A toast to making it through this one alive. Or rather, awake.

MA: (looks at glass) What is this, anyway?  There’s something moving in my drink.  Is that a scorpion?

LS:  Haven’t you ever had a scorpion bowl before?

MA:  Yeah, but they’ve never had real live scorpions in them!

LS:  This is the wild west.  Be a man! Chug it!  It’ll put hair on your chest!

MA:  I’ll pass. Waiter, another glass of ale, please.

LS: (drinks his glass, and pushes a scorpion leg back inside his mouth):  Mmmm. You don’t know what you’re missing.

—END—

© Copyright 2013 by L.L. Soares & Michael Arruda

Michael Arruda gives THE LONE RANGER ~ one and a half knives!

LL Soares gives THE LONE RANGER ~ half a knife.

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THE PURGE (2013)

Posted in 2013, Bad Situations, Cinema Knife Fights, Controverisal Films, Dystopian Futures, Killers, LL Soares Reviews, Masks, Suspense, The Future, Thrillers with tags , , , , , on June 10, 2013 by knifefighter

CINEMA KNIFE FIGHT: THE PURGE (2013)
By L.L. Soares (with a brief appearance by Michael Arruda)

The-Purge-2013-Movie-Poster(THE SCENE: Interior of a house at twilight. The annual Purge ritual is about to begin)

L.L. SOARES: Ah, it’s almost time for the Purge, Michael! I can hardly wait. (starts strapping on axes and handguns and chainsaws and hunting knives and chainsaws and shotguns and ice picks and rocket launchers).

MICHAEL ARRUDA; That sure is a lot of stuff.

LS: You bet. I take this holiday seriously. It’s the one time of the year I can get away with murder, literally, without it being a crime.

(LOUD NOISE is heard. The sound of metal crunching)

LS: What the hell is that? (contines to strap on things like battleaxes and longswords and maces and a gattling gun and poison darts and venomous snakes and the shiny ball from PHANTASM)

MA: Oops.

LS: What do you mean…Oops?

MA: I think I accidentally pressed the “Lock Down” button. Nobody can get in now.

LS: That’s okay. I can still go outside, right?

(MA does not respond)

LS: Right?

(MA twiddles thumbs)

LS: RIGHT??

MA: Well, you see, I’ve got my system on a timer. No one can disarm it until the Purge is over. So you can’t leave.

LS: You’re telling me I waiting all year long for Purge night so that I can commit whatever crimes I want and not be arrested, and on this momentous night, you have rigged it so I can’t leave your house?

MA: Bingo.

(LS straps on one last item, a little tiny Derringer, and goes to take a step forward, and collapses under the weight of everything he has strapped to himself.)

MA: Looks like you wouldn’t be able to make it ouside with all that stuff anyway.

LS: I could always downgrade!

MA: Look, you can’t join in on the Purge this year. Deal with it. In the meantime, we can make popcorn and review this week’s movie. Which just happens to be THE PURGE. Do you want to start?

LS (starts crying and stamping his feet): But I wanted to do some killing and pillaging!

MA: I said I was sorry.

LS: Okay, I’ll start the review. But you owe me one.

MA: You start. I’ll go put some popcorn in the microwave. (Leaves the room)

THE PURGE takes place is a dystopian future. Or is utopian? I guess it depends on your point of view. There’s low unemployment, a low crime rate, no war, and lots of prosperity. How did society achieve all this, you ask? Well, there’s some talk of “New Founding Fathers,” so I’m guessing a new kind of government has taken over. And part of this new regime is an annual ritual, the Purge, which states that one night a year—from 7pm until 7am the next morning—all crime is legal, including murder (of course, there’s a clause in there where certain government people with a clearance of 10 or higher are exempt and cannot be killed. Those guys always have to cover their asses). There’s also a restriction on the kinds of weapons you can use, I noticed, too. Well, enough about that….the idea is that if society can cut loose and go bonkers one night a year, it will purge everyone’s violent tendencies so they can go back to being model citizens again the rest of the year.

I actually found this premise really interesting. Finally, a horror movie about IDEAS. Most Hollywood horror movies are more concerned with body counts. Could a future like this ever really happen? Who knows. But it’s an interesting theory. I for one have always really dug the theme of civilization vs. savagery; it’s a theme that has even popped up in some of my fiction.

(Pulls out a copy of Freud’s Civilization and Its Discontents and thumbs through it)

Anyway, our protagonists are your typical American family, the Sandins. There’s the father, James Sandin (Ethan Hawke, most recently in last year’s above-average thriller, SINISTER) , mother Mary (Lena Headey, probably best known these days as the villainous Cersei Lannister in the megahit HBO series GAME OF THRONES), daughter Zoey (Adelaide Kane) and son Charlie (Max Burkholder). Daddy made big money selling security systems to rich families just like theirs in anticipation of the Purge. The family sits around the TV to celebrate the beginning of the news coverage—like it’s New Year’s Eve or something—and the big lockdown of their home. All seems well in SandinLand.

That is until Charlie sees a wounded man (Edwin Hodge) desperately seeking shelter from a gang of psychos. The kid can’t just sit by and let the guy be murdered, so he opens the doors to let him in. James immediately locks things up again, but there’s suddenly a stranger loose in their house. Meanwhile, up in Zoey’s room, her boyfriend Henry (Tony Oller) snuck into the house before lockup, so he can reason with her dad about their relationship (James thinks he’s too old for Zoey). His logic being “He can’t throw me out, he has to listen to me.”

Oh yeah, and there’s a gang of psychos outside, banging on the door to be let in. Seems that they were hunting the wounded man for sport, this being Purge Night and all, and since they’re completely within their rights to do it, they are rather ticked off that someone has spoiled their fun. So they offer the Sandin family a choice. Send the wounded guy out to them so they can finish having fun. Or they’ll force their way in and kill everyone.

The psychos look like preppy Ivy League college kids wearing creepy masks and carrying various weapons. They’re led by  led by a “Polite Stranger” (that’s what they call him in the credits) played by Rhys Wakefield. He’s so psycho, he kills one of his own friends for speaking out of turn during the negotiations. Polite Stranger is also the only one of the gang who removes his mask, so we can see his leering, preppy-boy face.

So what’s going to happen? Is the family going to track down that homeless guy and send him out to be butchered or will they stand and fight? Can the bad guys really get inside when the house has state-of-the-art security that James had installed himself? And what about Henry, will he finally earn James’s respect and the right to date his daughter?

All this and more will be revealed when you see THE PURGE.

(Sound of microwave beeping in another room)

LS: Sounds like Michael is almost ready with that popcorn. I’d really like to hear his opinion of this movie. Hey Michael, get in here.

Anyway, like I said before, I thought the concept of “The Purge” was kind of cool. This is not the first time we have seen something like this, of course. This film has elements of “siege on a house” movies like STRAW DOGS (1971) and ASSAULT ON PRECINCT 13 (1976) — both of which have been remade in recent years—the teenage thugs are reminiscent of the Droogies in Stanley Kubrick’s classic, A CLOCKWORK ORANGE (1971); the creepy masks and sense of mystery and menace are right out of THE STRANGERS (2008), and even the concept of the Purge itself is similar to the sacrifices made by the kids in THE HUNGER GAMES, (2012) by just as merciless a government (which in turn brings to mind Shirley Jackson’s classic story, “The Lottery,” and the Japanese movie BATTLE ROYALE, 2000). As I said, it’s not a completely new idea, but it’s a clever spin on it, and it works well here.

(Looks around)

LS: Where the hell is Michael with that popcorn? And he better have stocked up on beer, too.

(LS wanders down the hall and downstairs, heading toward the kitchen. When he gets there, there’s no sign of Michael. And the microwave is still beeping)

LS: Michael, where are yooooou?

That’s funny. (Pops open the microwave and starts eating the popcorn)

Anyway, back to the review. Director James DeMonaco previously gave us the drama LITTLE NEW YORK (2009), which also starred Hawke, and was previously a screenwriter, one of his scripts in fact being the 2005 remake of ASSAULT ON PRECINCT 13 (coincidence?). DeMonaco does a good job building suspense here, and maintaining it throughout. I thought this movie was a solid piece of filmmaking.

The score, by Nathan Whitehead, is also quite good, helping to set the tone and build suspense throughout. (Barry Lee Dejasu interviews Whitehead for his Scoring Horror column tomorrow).

The cast is very good, beginning with Hawke and Headey. I was on the fence about Hawke for a long time, but he’s been in a string of interesting films lately. And it’s ironic that the same day THE PURGE comes out, his other new film BEFORE MIDNIGHT, a smart romantic drama by Richard Linklater, which could not be more different, also opens in several cities. The man is on a roll.

Even the kids are good in this one, although I was cursing when Charlie unlocked the house so the wounded guy could get in. I know he thought he was doing the right thing, but to put his whole family at risk, I wanted to strangle the brat. His is the first of several moral decisions these characters have to make, though.

Rhys Wakefield is also really good as the “Polite Stranger.” He has an almost Joker-like quality to him that reminded me of the late Heath Ledger. Wakefield is suitably creepy here, and I wanted more of his character, and I wanted to know more about him. But there isn’t a lot of room for character development when everything hits the fan.

I also like how THE PURGE deals with issues of class and race. In this future of lower crime, there’s also more poverty, and the evening news debates whether the Purge was thought up to legally wipe out people that society didn’t want. And by society, they obviously mean “rich society.” The wounded man who is given sanctuary in the Sandins’ house is black, homeless and, judging by the dog tags around his neck, a veteran of one of those wars we no longer have in this alternate future, and yet he’s hunted like an animal by privileged preppies in Halloween masks.

I really enjoyed this one. It was well-acted, suspenseful, thoughtful and shined a light on the ugly side of human nature. That’s what good horror is supposed to do! Show us the sides of humanity we would rather not see.

I give this one three and a half knives.

Now would normally be the time when Michael pipes in with his lame-brained review of the movie, but he’s clearly not around. I bet he’s playing some kind of prank on me.

(A MAN enters the kitchen, wearing a creepy mask and holding a machete)

MASKED MAN: It’s Purge night. Time for you to meet your maker.

LS: Who the hell are you, and how did you get in here. And what did you do with Michael?

MASKED MAN: Who’s Michael? I snuck in through a cellar window that wasn’t covered up. And now, say good-bye (raises machete)

LS: And me without all my weapons. Seems like I left them all upstairs…Uh oh.

MASKED MAN: Here I come. Ready or not.

(LS grins and pulls out an AK-47)

LS: Except for this one. (Blows the guy away)

LS: Hey, that was fun. I hope more people sneak in!

(MA enters the room)

MA: What’s going on in here? What’s all the racket? I leave you alone for a couple of minutes and you’re already getting into mischief.

(Looks at the dead guy in the mask)

MA: How did he get in here?

LS: He said something about an uncovered cellar window?

MA: Uh, oh, I better go check that out.

LS: Hey, wait a minute. I just finished my review of THE PURGE. Do you have anything to add?

MA: I was so busy preparing for Purge Night, I didn’t have time to see it.

LS: You’re kidding me.

MA (shrugs): Oops.

LS (looks at the clock): Well, my review is over and there’s still 10 hours to go of the Purge. I just thought of something. I can’t go outside to cause mayhem, but that doesn’t mean I can’t have fun. I’m in here, after all, with you.

MA: Umm…what are you getting at?

LS: You’re it. I’m going to count to 100 and then come looking for you with a chainsaw. Won’t that be fun? So after you check the cellar, make sure to hide real good!

(MA presses the “UNLOCK” button)

MA: I suddenly remembered how to let you go outside.

LS: Hurray!

(LS then proceeds to strap on guns and knives and chainsaws and swords and rocket launchers and battleaxes, and then topples over when he tries to go outside)

-END-

© Copyright 2013 by L.L. Soares

LL Soares gives THE PURGE~three and a half knives.