142: The Captive

Garrett and Carson try escaping the confines of Coronavirus by reviewing 2014’s The Captive.

135: The Hunt

Garrett and Carson play The Most Dangerous Game once again with Blumhouse’s The Hunt.

133: The Invisible Man

Garrett and Carson hope to see a solid horror movie in Leigh Whannell’s reimagining of The Invisible Man.

Review: Us (Garrett’s View)

Peele delivers another modern classic thriller, but you will have to overlook the plot to truly enjoy it.

Episode 85: Us

Garrett and Carson are seeing double while discussing Jordan Peele’s latest thriller Us.

Episode 84: Triple Frontier

Garrett and Carson accept the mission of talking about Triple Frontier.

Review: Triple Frontier (Garrett’s View)

A slight misfire but doesn’t totally miss its target.

Review: Cam (Garrett’s View)

A Black Mirror-esque thriller that evokes more of an “oh, ok” response than a “wow!”

Review: The First Purge (Garrett’s View)

The First Purge can’t seem to decide what it is trying to be. It utilizes random jumpscares and trying-to-be-creepy masks to try and achieve a horror feel, but never has the pure terror of an actual horror film. It fails to produce any moments that make your heart race despite constantly putting characters in life or death situations thus the label “thriller” doesn’t seem to apply. And the final bit of identity crisis comes in the form of a third act that features two fairly lengthy, pure action sequences. When a film doesn’t know what it wants to be, it is hard for the audience to simply take it for what it is.

The key goal for this prequel is clearly to establish how the purge came to be. To be fair, this the only area where the film succeeds. Though it is done in a very ham-fisted way, director Gerard McMurray is able to lean heavily on current events to show how the purge arose in the cinematic world — and, in turn, how it theoretically could come about in our world. Relying heavily on post-2016 America as a template, the film posits that racial and economic tensions led to the rise of a third American political party that decides to implement an experimental purge limited to 12 hours on Staten Island. As the film (and the purge) progress, we continue to see flourishes of political and social elements. These range from social protests to a gunfight with hooded klansman to conspiracy-fueled developments regarding the government’s involvement with the purge. While it succeeds in adding a layer of realism to a fairly nonsensical plot, the movie only uses these as simple setups and segues for the franchise as opposed to a mechanism for a form of biting commentary.

Throughout the whole runtime, it feels like the purge is simply lurking in the background. It only comes to the forefront when one of the side characters or cutscenes needs to be used to explain how the purge came to be. The main characters are obviously in the purge, but their story seems to be fairly generic and something more along the lines of the 90’s Denis Leary and Emilio Estevez classic Judgment Night. The people they are running from are the bad guys that existed in their lives before the purge as opposed to something uniquely evil that was born of the purge.

It is sort of bizarre that the best scene in the movie is one of the aforementioned action scenes in the last act. After our drug lord hero magically transforms into a tank-top-clad hybrid of John McClane and John Rambo, he goes on a shooting spree to work his way up to his friends on the 14th floor of an apartment building. Despite being a D-level take on The Raid, this is the only time where any sort of artistic value in filmmaking is shown. But since it occurs fresh off the heels of a horrifically bad fog-laden, CGI-blood-spraying scene a few minutes earlier, it is possible that it just seemed well-crafted by comparison.

There isn’t much to like about The First Purge unless you are a die-hard fan of the franchise. Having only seen the first in the franchise, this film feels totally unnecessary. Spending 97 minutes to show what could have been explained in a 3-5 minute breakdown in any of the sequels is complete overkill.

Review: Hold the Dark (Garrett’s View)

Hold the Dark, director Jeremy Saulnier’s follow up to Blue Ruin and Green Room, drops the color-themed titles in favor of brightness  — or rather the lack thereof. It is a film that is as bleak as its Alaskan wilderness setting. While Saulnier’s signature moments of thick tension and hyperviolence are still present, what is lost and sorely missed is the razor-like plot.

Saulnier seems to be aiming for a more arthouse take on some of his familiar motifs. It is an undoubtedly intriguing goal, but it’s as though he thought that by simply removing elements of the plot, the film would automatically become “artsy.” Instead, it becomes vaguer and, at times, genuinely confusing as to why things are happening the way they are. Worse, layers upon layers of visual metaphors are used to construct the plot in what ends up feeling like a mess of wet paper mache that hasn’t quite dried and taken shape yet.

The main actors all turn in solid performances though they feel underleveraged. Jeffrey Wright is the stoic, innocent outsider whose primary function seems to be to relate the evil human behavior on the screen to that of raw nature which his character is familiar with. Unfortunately, it never feels like he’s providing any unique insight into what’s happening that the audience can’t piece together on its own. Riley Keough is creepily intriguing but not given enough screen time to really explore the endless possibilities that description represents. Alexander Skarsgård is menacing but never strays from his robotic terminator mode. The best performance comes from James Badge Dale who seems like the only normal, relatable character in this entire film.

Hold the Dark is like a mashup of Wind River and True Detective. It is beautifully shot and has pieces of a story that deserves to be told in a much more coherent fashion. Like a puzzle in which someone has deliberately thrown away some of the pieces, you know what it is supposed to be, but you can’t quite see all of it as it should have been. It is a film with little depth that tries too hard to portray just how deep it thinks it is.