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‘The First Purge’ is the Bold, Angry, Best of the Franchise

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The First Purge

The First Purge is a furious response to the hot-button issues that American society is currently facing. In a time when shootings and scandals are so frequent that conversations of political change have the shelf life of a trending hashtag, the film is effective as a screaming, damning condemnation of perpetuated prejudice, economic inequality, and the problematic normalization of community tragedies.

The film begins with scenes of Staten Island’s preparations and protests leading up to the first Purge event. Selected because of its “demographic representation”, Staten Island will be ground zero for the New Founding Fathers’ 12-hour government sanctioned experiment.

Participants are psychologically screened with a series of questions to gauge their personal levels of anger and frustration. As an incentive, residents will be paid $5,000 to remain on the island. Any additional participation (tracked by advanced contact lens cameras and implanted tracking devices) will result in bonus compensation.

The “Architect” of the experiment, Dr. Updale (Marisa Tomei), hopes to determine if this purging could alleviate the anger and tension we carry through our daily lives, theorizing that it would decrease crime rates and support a better quality of life. While offering financial incentive for violence in a low-income community encourages participation for the sake of tracking results, it’s probably not the most ethical way to conduct an experiment.

However, because the experiment is funded by the New Founding Fathers (the NRA supported and financed political party in power), it’s clear that they’re not seeking to examine results; they’re hoping to prove the viability of a nationwide Purge.

via Universal Pictures

As a franchise, The Purge has always had a strong focus on themes of class and racial division. Even going back to the first entry in the series in 2013, the framework of a home invasion horror film allowed subtle discussions of how corporations were able to monopolize on the structure of the violent annual event and how those preparations were skewered in favor of the affluent households who could install elaborate security systems.

While upper-class neighborhoods were snug in the safety of their home, purgers could target those of a lower economic status who were unable to afford the same cautionary measures, leaving them obviously vulnerable to persistent attacks.

The structure of Purge Night “allows a release” for everyone’s anger with the convenient side effect of lower crime rates and higher employment. Obviously, the economic benefits aren’t due to the nation’s emotional release. By “purging” as a means of population control, The New Founding Fathers found a way to eliminate those of a lower social caste. In The Purge, it’s notable that the preppy mask-wearing purgers are in relentless pursuit of a lone Black male target.

In 2014, The Purge: Anarchy shifted the events of Purge Night out of the suburbs and into the city streets where audiences were introduced to the idea of intervention from those with power. Parties flooded with wealthy bidders were centered on the opportunity to eliminate targets selected from urban areas. The Purge: Election Year highlighted the political gain found from the annual Purge, and the steps that would be taken to protect that.

via Universal Pictures

The First Purge does not present its message with subtlety – it’s a response to the ongoing issues of the systematic oppression and blatant disregard for the lives of minorities and the poor.

Now, as a White girl from Canada, I am poorly equipped to speak on the experience of being Black in America. But with nods to the Charleston church shooting, police brutality, white nationalists, and a pussy grabber, and with dialogue like “I am worried about this country, I am worried about our future” and “government doesn’t give a shit about any of us”, the point is clear.

The Purge experiment is designed and manipulated for the justification of a national-level event. For a prequel to go back and explain why the events shown in the previous films came to fruition using such socially-charged examples from our current headlines is bold, but it works.

via Universal Pictures

The film follows Nya (Lex Scott Davis), an active Purge protester and strong source of support in her community, and her ex-boyfriend, Dmitri (Y’lan Noel), a high-level dealer with a crew of loyal soldiers.

Dmitri is a pillar in the community because of his reach and economic success, but Nya is saddened that he’s refusing to acknowledge the destruction caused by the impact of his business. She addresses this with him in a conversation about perpetuated community violence that nods to the long-running war on drugs. We all make choices to heal or to hurt, and it’s clear what choices he’s made.

This sentiment – while poignant – does get muddled when the survival of the community must rely on Dmitri’s experience with violence for their safety.

via Universal Pictures

A hiccup with The Purge franchise is that these strong socio-political messages of economic disparity and racial division end up on the sidelines during extended scenes of violence for the sake of violence.

On the one hand, the nature of the Purge event itself is violent, so of course violence in The Purge series is expected (as it is with the majority of horror franchises). Excessive violence in horror is bankable – it’s not a necessary element in a good horror movie, however, it’s a mainstream expectation that sells tickets. That said, it does tend to distract from each film’s message.

The First Purge introduces the idea of purgers doing non-violent illegal activities, like massive block parties where no permits or liquor licenses are needed.

The second act blends in a heavy dose of ancillary violence, though – for the most part – it’s justified by the storyline. That said, the film gets a bit lost when trying to balance the responsibility of a socially-charged message with the duties of carrying its own plot.

via Universal Pictures

The carnage of the third act brings the focus back to the film’s thesis.

Purging attackers roam the streets in KKK robes and modified police uniforms, systematically hunting down the diverse residents of Staten Island. An assault on a building full of residents is enacted by heavily armed White men in minstrel masks. The First Purge does not pull any punches with its imagery.

It’s also worth noting that all on-screen protagonists are people of color with a number of strong female characters, which is wonderful – both for on-screen representation as well as the strength of the film’s message.

All of this may seem incredibly heavy-handed (and it is) but it speaks to a desire to be heard.

via Universal Pictures

As with the prior entries in the franchise, the ending falls a bit flat after the anticlimactic 12-hour conclusion alarm sounds. Everything that was built and discovered in the preceding 40 minutes (or so) of action is unresolved, and because we have the other entries in the franchise as a spoiler, we know that nothing ever really changes.

Perhaps it’s a bit too Nihilistic, this knowledge that there’s nothing that could stop the Purge from becoming the annual event we know it to be. Like the numerous protests and conversations on reform in our own lives, we’re still at the mercy of those “higher-up” decisions.

Or maybe it’s just a fast way to wrap up the events of the film with no additional thoughts on closure. Either way, it feels sudden and incomplete.

via Universal Pictures

The First Purge – at its heart – is about the indestructible spirit of resistance. It’s about community, it’s about family, but it’s framed within this action fueled Attack on Precinct 13 meets Do The Right Thing vibe (with a touch of Die Hard flair). It communicates a passionate anger, but the structure of presenting those ideas within a popular franchise may be more limiting than liberating.

Overall, I enjoyed the film. It’s far from perfect, but it’s the strongest entry in The Purge franchise so far. If this bold entry is any indication of the direction the series is moving towards, I’ll definitely keep watching.

For more on The First Purge, you can read our interviews with the series creator/film writer, James DeMonaco and the film’s director, Gerard McMurray.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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