THE PURGE: ELECTION YEAR (2016)

BY BLAINE MCLAREN

There has never been a more aptly titled and timed film than the most recent entry in The Purge series.  The U.S. is currently suffering through a real “Election Year”, enduring our way through two power hungry assholes that don’t seem that far off from the film’s fictional “new founding fathers”.  The concept of an annual purge has been a pretty high concept idea from the beginning, but I don’t think the creators had any idea of what they were starting.  The series had a pretty rocky start, but really found its footing with the release of its sequel “The Purge: Anarchy”.  This film took us into the streets and became an ultra violent homage to films like The Warriors and other action/exploitation films of the 70s and 80s.  The streets seemed as dangerous as you would imagine, allowing for some very interesting set pieces that were more than satisfying.  What I never expected was the introduction of a not-so-subtle message of class warfare.  We followed the lower class this time and we were tossed into a gritty world of survival that showed the true nature of why The Purge (actually) exists.  The big question going into this follow up (at least,for me) was “Is this going to just be Anarchy all over again or will this build on this concept and offer something new?” and I am glad to say it did!

The story picks up two years after the events of “Anarchy” and we are reintroduced to Leo, our unlikely hero from the last film.  He is currently working as bodyguard for a controversial senator who is currently running for president.  Her entire platform is built around outlawing The Purge and restoring the lower classes of this alternate America.  As you can imagine, this prompts the New Founding Fathers to attack her, setting off a series of events where our protagonists end up back on the city streets on Purge night.  From here we meet a slew of good guys and baddies hunting and surviving on the streets of Washington D.C.

The biggest difference with this film is the shift in tone.  This time around, the writing is much tighter and allows for more humor and humanity.  The comic relief is subtle and does not take away from the tension.  The streets feel even more dangerous this time around and the bad guys are even worse than before.  Some of the actors may be a little too exaggerated for some movie goers, but I feel their bigger than life performances fit this film perfectly.  The overall vibe has more in common with classic blacksploitaion films and this is (once again) because of the excellent script they are working with.  The only thing that can be grating is this series’ obsession with its “white crusaders”.  The events seem to be constantly surrounding Senator Roan and her every action seems out of place in this world.  She is given a compelling backstory, but every word from her mouth seems phony and incredibly cringe-worthy.  That aside, The Purge: Election Year is better than it has any right to be and I will be ready to fork over my next fifteen bucks when the inevitable sequel is released.  The Purge: Election Year is currently playing in theaters everywhere.

[usr 4]

 

BLAINE’S TOP 15 OF 2015

Holy Shit!  Another year has come and gone and now its time to see which films rose above the rest.  This year’s list includes all of the blood, guts and nudity that you would expect. But don’t worry, I included a few “classier” flicks for all you college grads out there. 

15.  The Duke of Burgundy (Directed by Peter Strickland)

A cold and confounding movie about a woman obsessed with moths who tests the limits of her relationship with her lover.  An exercise in obsession and repetition, that is worth enduring.

 

 

14. Tantrum (Directed by James Bell)

There are a lot of words that can be used to describe Mr Bell’s most recent film, but there is one that I keep using: indescribable. Not narrowly fitting into any real genre of horror or scene. It blurs the line between avant garde film experiment and performance art in a masterful way.

13. Girlhood (Directed by Céline Sciamma)

On top of covering the usual coming of age drama, there is a naturalness that feels so real and universal. From the boring technical side it is nearly perfect. Camerawork  is impeccable and its pace is perfectly meandering. The film may suffer from an unfortunate title, but hopefully people will see it without the looming Boyhood comparison.

12. Death-Scort Service (Directed by Sean Donohue)

A fun throwback to blood, guts and boobs.  The sleaziest film of 2015 and should not be missed.

 

 

 

 

 

11. Circus Of The Dead (Directed by Billy Pon)

Great sense of direction and great acting by Bill Oberst Jr and company. Also, some of the most enjoyable gore gags in years. When it finally gets a release, it is worth a look.

 

 

10. R100 (Directed by Hitoshi Matsumoto)

Like a blend of Quentin Dupieux and Sion Sono, with a little Bunuel on the side. I can’t decide if anything or everything matters (in this film) but there is something so unique and appealing about this film that really sticks with you.

 

9. Headless (Directed by Arthur Cullipher)

Found was one of my favorite movies of last year and this “lost slasher” is a excellent companion piece.  Great effects, fun acting and some of the nastiest kills in the history of cinema.

 

 

 

8. Der Samurai (Directed by Till Kleinert)

A spectacularly violent and mysterious film that feels both existential and playful throughout its run time. This is the kind of movie that requires multiple viewings to truly grasp.

 

7. Flowers (Directed by Phil Stevens)

This is the kind of film that is missing from underground horror lately. A grotesque, but beautifully shot film that mutely tells the story of 6 women and their murderer.

 

 

 

6. Androgynym (Directed by Nick Iway)

 This is a brave movie that does not gloss over things like addiction, loss and self identity.  In fact, it barrels itself directly at it.  There are scenes of extreme and shocking violence, but I hope they do not overshadow the beautiful experience that is Androgynym

5. The Interior (Directed by Trevor Juras)

There is very little when it comes to plot or story and instead focuses on the existential horror of being a young man who may not live long enough to figure out what he wants in life. That is much scarier to me than monsters or masked killers and there is no place better to experience this than deep inside of nature.

 

 

4. Turbo Kid (Directed by François Simard, Anouk Whissell)

In the year 1997…

This is the movie that captures nostalgia without coming off as pandering.

 

 

3. Spring (Directed by Aaron Moorhead, Justin Benson)

A beautifully shot genre bending project from the guys who brought us Resolution.

 

 

 

 

 

2. Bone Tomahawk (Directed by S. Craig Zahler)

If there was any justice in this world this film would sweep the Oscars. From best screenplay to best supporting actor, this film would win it all. This first time effort is everything that a fan of cinema could ask for.

 

 

 

 

 

1. The Tribe (Directed by Miroslav Slaboshpitsky)

“Don’t tell me, show me!” That is my battle cry when watching movies and this film couldn’t tell you if it wanted to. If you do not already know, this movie is told entirely through Ukrainian sign language with no subtitles or voiceover.  It is an unsettling, unique experience that cannot be compared to anything else.  A great example of how a film can transcend genre and language to stands on its own.

Some honorable mentions: Metalhead, The World Of Kanako, Mad Max: Fury Road and Under The Rainbow

Thanks for checking out my list!  Now let us know some of your picks in the comments below!

Blaine McLaren

Lead Writer for Mondo McLaren

THE LAST SHIFT (2015)

Siege films are one of the great, unsung genres of film that often gets overlooked.  Its usually overshadowed by its more popular labelS (Horror or Action).  A lot of folks forget that Night of the Living Dead, Assault on Precinct 13 and Demons all share the same plot lines.  I love this concept of peopled holed up together, trying to weather a storm or survive the night.  This setting creates a suspense and dramatic edge that few other styles capture.  The Last Shift is another strong entry into this subgenre.  It may not be wholly original (borrowing heavily from the three movies I mentioned earlier), but makes up for it in sheer creepiness.

The movie starts with a young, female officer named Jessica Loren showing up to her first day at work.  She is assigned to work the last shift at a closing precinct, while the rest of the department makes the transition to a new building.  Once there, she learns more about a satanic cult that reigned terror over their small town and took her father’s life.  We get a ride to madness revealing a villain who addresses himself as “The King of Hell”.

The plot is simple, but the director/co-writer (Anthony Diblasi) builds up each scare like a well mapped funhouse.  The imagery becomes increasingly darker as each set piece builds to the next, making the pace feel almost stressful.  What stands out most is the eerie sound design.  The film utilizes a looping sound style that makes the most mundane seem sinister.  There are a few things that feel cheap, but the budget and overall creepiness makes it all pretty forgivable.  I suggest that you give this little movie a shot and make sure to turn out all the lights and blare your surround sound.  The Last Shift is currently available on DVD.

3.5/5 STARS