I love the Purge films, and I find the evolution of the franchise fascinating. Trust an Ethan Hawke home invasion horror show to spawn some inspired, stylish and whacked out sequels. As good as Hawke and the horror was, it’s the concept of the Purge itself that led to ignition on the rest of series. Where Anarchy broke free from the conceptual restraints of the first and burst into all out war as we got to see full scale just what a purge looks like, Election Year builds ideas upon the carnage and gets political, though no less visceral and terrifying. There’s just something so unnerving about the premise of it, the absolute extremes in human behaviour it brings out, accented by a wry, satirical edge that seems so disturbing to me and what makes these films unique from scores of other horror fare. Here we see the New Founding Fathers, originally responsible for inauguration of the purge, challenged by a fierce new independent senator (Lost’s Elizabeth Mitchell), who has survived a particularly nasty purge night years before and wants to abolish the night forever. The evil, bitter chairman of the Fathers (Raymond J. Barry, turning the creepy Machiavellian scumbag dial up well past eleven) slightly augments the newest purge night in hopes of eliminating her from the running. Frank Grillo returns as eternally badass Sarge, now on her private security detail, and they both are forced to run through the night from rabid purgers (who have now gone international, apparently) Barry’s lethal Neo Nazi special ops assassination squad and even a bunch of crips. Help comes from a salty old deli owner (Mykelti Williamson) who wont go down with out a fight and a badass anti purger (Betty Gabriel) with a triage van. It’s loud, mean, brutal stuff that, as Anarchy did, takes lurid advantage of the premise and shows some jarringly depraved human behaviour from folks in all classes and makes a strong point towards the purge being a pretty shitty idea to begin with, especially when ulterior motives of those in power become clear. Writer director James Demonaco always attracts interesting actors to these films and has carved out quite the little legacy here. This year saw another one, a prequel called The First Purge which I’m excited to see, and Amazon just announced their own small screen version, so bring it on.
Looking for a smart, slick Sci-Fi thriller that has the emotional heartbeat to keep you caring right through the narrative? Check out Gregory Hoblit’s Frequency, a brilliant little high concept mind bender that’s aged so well they even recently rebooted it for TV, which I’m a little dubious about. Like it’s celestial Sci-Fi premise, the film is kind of a lightning in a bottle type flick where they captured the exact recipe of magic, character relationships and plot points that resulted in something really special, and I’m doubtful the new one could come close. Dennis Quaid and Jim Caviesel are awesome as father and son separated by both time, space and even death, until a miracle comes their way. Frank Sullivan (Quaid) is a firefighting, fiercely loving family man in the 70’s who is crazy about his wife (Lost’s Elizabeth Mitchell) and young son. Flash forward thirty years or so, his son (Caviesel) is grown up and now a cop, haunted by the past, and his dad has died in the time since. One year there’s a particularly powerful set of Aurora causes by sunspots, right when Caviesel happens to be tinkering around with a HAM radio. It’s delightfully farfetched, but this cosmic occurrence allows him as a grown up to communicate through time thirty years previous, reconnect with Quaid and try to set his family on a less tragic course. The reason it works so well is the dynamic between the family; Quaid, Mitchell and their young son (Daniel Henson) are so thoroughly believable and adorable as a family that we stick by them with each beat and deeply care about their outcomes, which are constantly shifting every time the past is changed via the future, and vice versa. Quaid has two friends (Andre Braugher and Noah Emmerich) who revolve around the character development too and have their parts to play, as does Shawn Doyle as a menacing serial killer who crosses their paths. Quaid loves to pick out these high concept Sci-Fi scripts it seems, he’s been appearing in them throughout his whole career from InnerSpace to Enemy Mine to Dreamscape to Pandorum, the amount of interesting stuff in his filmography is inspiring and this is one of his best. This is a tale to get lost in and revel at the sheer escapism it throws your way, a clever twist on time traveling that puts it’s two charismatic protagonists at dual control panels and gives them the power over fathomless phenomena, connected by an astrological two way radio that knows no bounds of space or time. A classic for me.