This is the first time I’ve ever taken a movie recommendation from Alex Jones who mentioned this movie during this interview with Michael Malice. Stay tuned to find out if I ever take another one, after this brief message from our sponsor: I HATE EVERYTHING.
I’m getting freaking PTSD from these awful, awful trailers they’re playing before the movies, to which I’m already coming in 15 minutes past marquee time to avoid the bulk of. I hate the biopic of Aretha Franklin so much already. Why? Because they make it look like she wrote “Respect” as opposed to getting it from Otis Redding. (Where Redding got it is another matter.) This was followed by a trailer for the new Candyman, which trades its spooky gothic plantation origin for a modern hands-up-don’t-shoot narrative. I’m not a big Candyman fan but as I recall, he was a badass even in the midst of genuine slavery, and not some poor waif gunned down by rogue police.
That is, I’m not taking any more movie advice from Alex Jones. Now, in fairness, he didn’t say it was a good movie, he just said that the movie shows the bad guys are the people in charge. This is true. In fact, the thing that keeps this movie from being awful as it wants to be is its complete and utter incoherence. We dipped out after the first one—which, holy cow starred Ethan Hawke and Lena Heady—not because we didn’t like it, but because we both agreed that as a concept it was just too stupid to sustain. (Beware Pixar!)
This movie was so stupid, I was tempted to go back and look at the second film in the trilogy to see if they just got progressively stupider, only to discover it’s not a trilogy but a pentalogy with a freakin’ TV series spinoff. We regretted not going to see the Escape Room sequel. Or, hell, Pig again.
This entry in the already dubious pile of crap that is the Purge Cinematic Universe has us believe that the purge has gone off, once again without a hitch, and people just go back to normal the next day. The one good part of this whole movie, story-wise is that the actual purge night is only a small fraction of the film. You could easily have believed they were going to do the whole as one extended night, but we get a little break before realizing that people aren’t going back to normal the next day.
Which is, of course, the obvious stupid thing that was obvious and stupid from the first movie. The “Star Trek” episode (“Return of the Archons”) that the movie rips off at least has, as its premise, that the inhabitants of the town are mind controlled by a rogue computer, and their “festival” day is a release valve for repressed emotions. It’s a dumb explanation but at least it’s an explanation. In the Purge-verse, the idea is that people just cut loose one day and then go back the next day to normal.
And also that the good people cower while the (often mercenary) vandals, rapists and murderers run amok. Oh, and also that the good people get caught outside during the purge.
All of this is too stupid to contemplate, and this film may be the ne plus ultra of the America-hating we saw in the first film.
So, in this profoundly dumb entry, “the purge” doesn’t stop and America falls to these gangs of roving purgers who are (probably?) hired by the richies that run things or who may have just decided to take things over for themselves. Our “heroes”—we got one separatist guy who actually gets a chance to reform, which is almost novel—are going to flee to Mexico. And when they get there, they’ll all be expected to speak Spanish.
Also, the Mexicans and the Canadians are only giving Americans a short window to escape—failing which they’ll trap all the refugees in a fascistic hellhole where they will be murdered, raped and enslaved. But Americans have that coming, right?
See, that’s the thing with a movie like this, that wears its politics on its sleeve: It refutes itself with its own stupidity. It also reveals a special brand of cowardice that’s so far from American Exceptionalism, you can tell there’s no one around who understands or dares express the idea. You get a movie made like this which looks exactly like the Antifa/BLM riots but you have to make the baddies White Supremacists. You have to, of course, there’s literally no way you could make a movie about actual villains.
The White Supremacists ultimately come up against Native Americans who are, I guess, illegal immigrant smugglers—and have been fighting this war for 400 years, or something, they say—but they are woefully underprepared when six dudes in dune buggies show up. The Boy groused about this: It’s one of those action scenarios where it’s not clear why anyone is doing anything, nor how many bad guys there are, since the number seems to be “however many we need till we’re done with our action piece.” Two of the bad guys get into a firefight with the heroes in a little mud hut, are killed, and the other bad guys don’t even notice.
What would really happen—and why The Purge is just a left-liberal fantasy—is that the rioters would run amok in the cities where leftist mayors give them free reign and then they’d stop before they got to the country—hell, the suburbs—where America’s ONE BILLION GUNS live. They’d end up with empty cities, where they would starve to death, and they’d be killed pretty quickly the instant they tried anything elsewhere.
But you can’t have that. No, the story is: All the good guys are disorganized, unarmed cowards who would flee the instant they met trouble. Literally anyone who would fight for America is a villain.
Dumb. Hateful. Tedious. But Alex is right about the frogs.