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purge-anarchy-poster

The Purge (2013) demonstrated that writer-director James DeMonaco is a gifted craftsman of suspense – and also a lefty retard who believes economic inequality and gun rights are the roots of all of America’s evil. The same can be said for DeMonaco’s follow-up, The Purge: Anarchy, which, like its predecessor, is a nicely constructed scare film informed by its creator’s contemptible ignorance.

In this installment, which takes up with an entirely new set of characters, a grieving father (Frank Grillo) takes advantage of America’s annual night of legalized bloodletting to go after the man responsible for his young son’s death. Along the way he crosses paths with a couple (Zach Gilford and Kiele Sanchez) whose car breaks down – oh shit! – just as the Purge commences and a mongrel mother (Carmen Ejogo) and daughter (Zoe Soul) who also find themselves on the unlucky end of the hunter-prey relationship.

The Purge: Anarchy introduces a few new elements into the franchise mythology, incorporating ideas from Richard Connell’s oft-filmed short story “The Most Dangerous Game”, with well-to-do Purgers hiring squads to go out and collect unfortunate specimens for them to hunt on private property. Another new feature, perhaps inspired by the subversive movement in the thematically similar Death Race 2000 (1975), is an underground revolutionary movement, led by the foulmouthed Carmelo (Michael K. Williams).

Grillo’s alpha male power maintains viewer interest in the lead character’s mission (the she-mutt charms on offer are less than entrancing, however), while Hala Bahmet’s costume design greatly enhances the spookiness, so to speak, of a gang of genuinely unsettling ghetto marauders. The Purge: Anarchy is a tightly wound, violent, electrified thriller that should satisfy fans of the original film and exasperate those who found it offensive.

Purge God

Whatever happened to Buckwheat?

[WARNING: POTENTIAL SPOILERS]

4.5 stars. Ideological Content Analysis indicates that The Purge: Anarchy is:

9. Anti-obesity. More than one mentally unbalanced chubby girl takes part in the Purge.

8. Anti-drug. The hero’s son was killed by a drunk driver (Brandon Keener) – another one of those damned stupid white men. Pills figure in one scene as a scary habit.

7. Anti-Christian. Religious language and concepts are used irreverently throughout. Purgers hold hands in a prayer circle before commencing mass murder, and so forth.

6. Pro-slut/pro-miscegenation. Eva (Ejogo) is that most admirable of American types: the minority single mother. She and her little hovel of high yellows or mestizos or whatever they are represent the racially indeterminate norm of America’s future.

5. Vigilante-ambivalent. Eva and her daughter implore Sergeant (Grillo) not to go through with his planned revenge. When the time comes to do the deed, he contents himself with giving his quarry a scare. Carmelo and his congoid army of avengers, however, appear to be fully justified in their activities. The lesson, then, would seem to be that personal vendettas and individually motivated murders are wrong but that violent mass actions of class conflict are validated by the demands of social justice. In one audience-pleasing scene, a Wall Street crook’s corpse is seen hanging over a sidewalk.

4. State-skeptical. The Purge: Anarchy is imbued with an uneasiness about the hyper-surveillance state, and it turns out that the “New Founding Fathers” who preside over the Purge are actually participating and using street cameras to track their prey. Typical of DeMonaco’s political idiocy is his paradoxical advocacy of gun control in conjunction with his distrust of authoritarian government. One can only assume that the “New Founding Fathers” of the Purge franchise are, to his mind, something like the Tea Party on steroids, and that a government sensitive to the people’s need for gun confiscation would be more trustworthy.

3. Anti-gun. The first Purge posits that guns are weapons of aggression and simply not an effective means of crime deterrence and home protection, as illustrated by a scene in which Ethan Hawke’s gun is used against him. The sequel, in which the Second Amendment becomes not only a license to kill, but an article of fanatical religious faith, suggests the same idea in a scene in which Eva’s pistol is in another room and out of reach when her home is invaded. The Purge: Anarchy, however, finds DeMonaco (who admits to being “terrified of guns“) going totally off the rails on a crazy train of convoluted reasoning according to which gun ownership represents such a threat to public safety that the poor masses must rise up with guns to combat gun owners. Black Marxists with guns is good and progressive. Rich white people with guns, on the other hand, is just another hateful Holocaust waiting to happen.

2. Egalitarian. The annual Purge exists partly to contain crime to a single night, but also for population control, with the poor and homeless being the ones who cannot afford to protect themselves. Carmelo rails against the “market mentality”. Eva puts in a good word for Obamacare by mentioning that she can hardly afford medical coverage for her family. The Purge: Anarchy furthermore asks viewers to understand that a gang of sick masked black thugs led by Keith Stanfield only participates because they need the money. Hear that, America? Flash mobs and polar bear hunters – the sort of African garbage documented by Paul Kersey and Colin Flaherty – do what they do only because they are socially marginalized and disadvantaged by structural inequality. Revolutionary death squads save the day. End credits feature money spattered with blood.

1. Anti-white. Surprisingly, The Purge: Anarchy is less single-mindedly anti-white than the first film, and features plenty of minority perpetrators, such as would-be rapist Diego (Noel Gugliemi) and the aforementioned masked street trash. Make no mistake as to this film’s principal target, however. In one of the dumbest sequences, Eva’s father (John Beasley) agrees, in exchange for monetary compensation to be paid to his daughter, to go to the home of a “posh” WASP family to allow himself to be butchered as a literal sacrificial Negro. “Change”, this movie informs its viewers through Carmelo, only comes with the spilled blood of the (white) rich. Climactic scenes include a machine-gun slaughter of wealthy WASPs, several blondes among them, by the black communists.

 

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A brilliant evocation of a dystopian world, The Purge tells of a future America in which the “New Founding Fathers” have implemented a national night of catharsis, “the Purge”, on which all crime, murder included, is allowed to be committed with absolute impunity, all emergency services being suspended.  Otherwise peaceful and productive citizens are allowed to release their inner demons, their pent-up frustrations and hatreds, with the result that crime of the everyday variety has been drastically reduced for the rest of the year.  One reason for this is that the poor, who presumably commit crimes only from privation, are disproportionately the victims of the annual Purge because they cannot afford the home security systems that keep well-to-do non-participants safe.   (The Purge thus stubbornly perpetuates the mistaken notion that poverty levels rather than racial makeup are a more accurate predictor of rates of crime.)  Consequently, unemployment has also been virtually eradicated, with the low-skilled and unproductive segments of the population being periodically weeded as a kind of collective sacrificial Negro.

The national night of helter skelter has naturally been a lucrative boon to the private security industry and in particular salesman and suburbanite James Sandin (Ethan Hawke), who has made a mint selling home armoring systems to his neighbors and has been able to afford an addition to his house.  Unfortunately, his success has also given rise to resentment in the community.  The Sandins are accustomed to locking down for the night and not participating – at least actively – in the annual Purge; but that changes when their teenage son (Max Burkholder) sees a black man (Edwin Hodge) in distress in the street and without consulting his father disarms the home security system long enough to allow the stranger to come inside.  Borrowing an idea from John Carpenter’s classic Assault on Precinct 13 (of which Purge writer-director James DeMonaco wrote the screenplay of the remake), a pack of masked Purgers then besieges the Sandin home, demanding that their human quarry be returned to them, or else that the Sandins themselves will become the marauders’ victims.

Reminiscent of Death Race 2000 in pointing to national ritual and sport as both a source and a valve for suppressed violent impulses in the American people, The Purge nonetheless creates an original and frightening world straight out of schlockumentarian Michael Moore’s most delirious nightmares.  Prospective viewers generally but pants-pissing dumb white liberals particularly are therefore advised to anticipate an hour-and-a-half’s worth of razor-edge suspense and accelerated heartbeats. Devilishly conceived and cleverly constructed, The Purge, notwithstanding its sociological idiocy, is the best film of the year thus far and heralds potentially great and wonderful things for creator James DeMonaco.

5 stars.  Ideological Content Analysis indicates that The Purge is:

7. Pro-miscegenation.  Two of the Sandins’ neighbors are miscegenators.

6. Antiwar.  The hunted stranger, a homeless black man, wears dog tags, an indicator that America has not always been kind to its veterans and also a reminder of the myth that that blacks have borne a disproportionate burden of America’s casualties in conflicts like the Vietnam war.

5. Anti-gun.  For the opening credits montage of surveillance camera violence, 1992 footage of armed Korean shopkeepers defending their property against the African savagery of the Rodney King riots has been repurposed as a vilification of gun owners.  The Purge does depict gun owners defending themselves, but also being victimized by guns and having their own weapons taken from them.  In one scene, Mr. Sandin is choked with his own gun.

4. Noncommittally statist.  The Purge cautions viewers about the self-interested intentions of utopia-touting governments, with lawmakers serving lobbies and exempting themselves from their own decrees, but the film is itself a de facto statist statement in its implied endorsement of gun control and the welfare state.  Americans, The Purge appears to be urging, ought to be grateful for the disastrous government-engineered employment numbers of the Obama years – because look what draconian steps would have to be taken to reduce unemployment to tolerable levels!  End the federal stranglehold on the economy and a veritable Holocaust would ensue!  James DeMonaco is most probably the whimpering type of welfare-statist for whom the Ludwig von Mises Institute must appear a kind of looming Fourth Reich or harbinger of the Apocalypse.

3. Anti-white/anti-racist (i.e., pro-yawn).  Fanatical Purge partiers wear masks representing grotesquely wholesome, smiling, Caucasian faces. The implication is clear: behind the friendly facades of those once considered normal, upstanding citizens lurks an atavistic desire to butcher blacks, the homeless, and other poor, defenseless, and downtrodden creatures.  The film has a major ax to grind with suburbia and the ostensibly perfect America of the Cleaver family and so dresses its horde of murderers in preppie sweaters, jackets, ties, and conservatively virginal white dresses for the girls.

2. Anti-capitalistic.  Business interests make their money at the expense of the death and misery of the underprivileged.  Sandin, the film’s representative merchant, sells his neighbors a fraudulent bill of goods in a home security package that delivers less than it promises.  Only when confronted in his own home with the reality of the situation is Sandin moved to consider the moral dimension of his profiteering.

1. Anti-American.  There is something about the all-American health and contentment of Leave It to Beaver that drives radicals up the wall and causes them to rage with destructive self-loathing at the evil monolith of the establishment under which they imagine themselves to be cruelly crushed.  The Purge endeavors to tear it down.

Writer-director Scott Derrickson and his collaborators on Sinister clearly graduated summa cum laude from the Jump-Scare School of Hollywood Horror, because this is a movie that, if nothing else, could probably give even a healthly person a heart attack.  Ethan Hawke plays Ellison Oswalt, a debt-burdened true crime writer who, hoping to do some salacious research for a tacky comeback book, and without warning his family about their new home’s sordid history, has moved them into a creepy house where the last occupants were ritualistically murdered.  Oswalt’s life turns scary fast when he discovers a box of old snuff footage in the attic.

The murders documented in the home movies appear to be unrelated until Oswalt discovers that each reel contains a fleeting glimpse of a mysterious, pale-faced Insane Clown Posse reject – who, an expert professor informs him, is Bughuul, an ancient Babylonian deity and devourer of children’s souls who lives in his images and paraphernalia.  Before long the move into the new house has the children behaving bizarrely, with the boy popping shirtless out of a cardboard box like a little Anthony Kiedis and screaming, for instance, and the daughter hanging around with a troupe of ghostly junior juggaloes.

The house, which functions to satisfy Oswalt’s selfishness, is his unsavory headspace given architectural form, enveloping and victimizing his family, with all their demonic troubles directly traceable to his poor decisions, materialistic irreligion, and careless self-absorption.  In line with God’s commandment against graven images, Sinister acts (barely) subtextually as a morality tale and a warning to parents to consider their children’s cultural diet as carefully as the food they eat.  In other words, let them read too many comic books, listen to death metal and hip-hop, watch boob-jiggling music videos – or, in short, take them to see one too many gruesome horror movies like Sinister, and you might have a burgeoning brood of Beelzebub-worshipping serial killers on your hands.  Sinister, then, is that rare bat: the self-loathing horror film.

A strong Ethan Hawke performance anchors and energizes Sinister, which, if not for his convincing presence in the lead, would be a significantly less effective film.  The script is adequate; but, with the exception of Ellison Oswalt, offers few if any other fully developed characters.  Oswalt’s wife, played by Juliet Rylance, is less a human being than a personification of her moral position, and the children have no purpose apart from glaring, looking sickly, and trying their best to seem to be spooky instead of just cute kids.  The precocious Michael Hall D’Addario, who was so charming in People Like Us earlier this year, is particularly underutilized here.  Not a bad show overall, though, and commendable for helping to raise public awareness about the epidemic menace posed by Pennsylvania attic scorpions, Sinister gets 3.5 of 5 stars for Hawke and the jumps.

Ideological Content Analysis indicates that Sinister is:

4. Anti-drug.  Oswalt turns to whiskey, which can’t solve his problems.  The drink for edifying discussion is coffee – which, however, also proves ultimately deceptive.

3. Pro-police – or, in this case, the sheriff and his deputies.  The sheriff at first appears to play an antagonistic role when the Oswalts move into his town; but his unwelcoming demeanor and suggestion that they leave turns out to have been a piece of wisdom that could have prevented trouble.  The ostensibly naive “Deputy So-and-So” proves to be smarter and more adept than he at first appears.  He’s a neighborly, God-fearing man, though perhaps a little corny, and brings a reassuring light and warmth to his few scenes.

2. Christian/traditionalist.  Oswalt’s lack of faith has endangered his family.  Paganism, far from being something harmlessly trendy, contains demonic currents that put children at risk.  Oswalt’s condescending citified attitude toward what he expects will be the stereotypically ignorant and belligerent old rural sheriff and Fife-like deputy is ill-advised, and his sophisticated certainty and atheism are shaken and refuted by what he experiences.

1. Pro-family.  What families really require, Sinister argues, is responsible fathers more concerned with their children’s welfare than with satisfying their own selfish whims.

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