Judgment night of cinema

About a month ago I watched The Purge trilogy, better known in Russia under the title “Judgment Night” ... and then I discovered that there is another fourth film. But watch it, damn it, I will not even for money.

I wanted to familiarize myself with the franchise for a long time: it was interesting what kind of cinema is one in which Americans cut out each other, but which, for some reason, nobody likes. It was even more interesting to find out what the next “uzhos of left-wing propaganda”, shot for fabulous grandmothers in the center of the neoliberal world, was. And so, one sleepless night, I turned on the online player ...

[A small remark before we begin: for those who do not know what they are talking about, there is the Internet — it’s not interesting for me to paint the concept of “Doomsday”.]

Honestly, The Purge of the 13 of the Year 13 “Bribed Me”. It happens like this: you understand that the film is not very good, the production is poor, the director doesn’t use anything outside of the “American thriller starter pack”, the special effects are not important, and the script is a little more than completely dull. But, on the one hand, the movie is damn dark. And darkness is noble. On the other hand, ridiculous looking splashes of drawn blood are trying to be inserted in such a way that the viewer has no problems with their appearance; a couple of standard, but intelligent camera techniques in the arsenal is available; after all, Reese Wakefield is beautiful, screaming “RELEASE THE BEAST”. You see all this - and there is hope that the next part will be better. And you forget that the continuation of the pass-through film with an almost one hundred percent probability turns out to be a complete shit.

Reese Wakefield

In short: starting with the second film, they stopped trying completely. The authors used the standard for the sequel method: they increased the scale of the action, and they did it right according to the precepts of Resident Evil (the events of The Purge took place in the mansion, and The Purge: Anarchy - on the streets of the city). In Election Year, the very meaning of what is happening increases by several orders of magnitude: if earlier it was a question of the survival of a couple of dozen people and local clashes, now the outcome of the “doomsday” determines the fate of the whole country. With all this seeming progress, the franchise, starting from the second part, went straight into the abyss, having lost both form and content. Neither the attempts to hide technical flaws, nor the construction of an interesting composition in the frame, nor the use of a wide range of means of expression of speech were made when a handful of heroes whose names were forgotten before the final credits ran along dark alleys from a black man in a mask with the inscription “ GOD ”and the evil American colonel. In the “Year of the election,” in general, such a thing began that I only had enough for half an hour or an hour of screen madness. “Purge” drove like Groin. They introduced a muddy character associated with one of the main characters to forget about this character for ten minutes, introduced them to the rest of the main characters, and then, suddenly, were killed - so as not to interfere with the script. Every second character wrote replicas, like a five year old, to take screen time with something. They used one cluster grand piano to create a dangerous situation — another is needed to get out of it, and then a third, in order to somehow move along the plot ... And so on and so forth.

The resulting schizophasia is difficult to watch. Difficult physically. It hurts her disgusting form. And what about the content?

Particularly uporoty party altreit notice the signs of “leftist propaganda” in the first part. Wealthy white students try to kill a homeless negro from the hatred of “unworthy scum”. A clever child, prone to empathy, lets the victim into his house and it turns out, in the end, everything is right. In the end, we learn that violence is bad, understandable? pragmatic, economically justified cruelty turns people into animals, that people are not numbers in the tablets with the words “standard of living”, that the utilitarian approach is not always correct and can lead to results that are completely opposite to the stated goal. True, the altreit will have to forget that in the center of the narration there is an exemplary white patriarchal family in which the father is shown not only a successful person providing his wife and children, but also a real hero. Otherwise, the above picture will collapse in an instant. In fact, The Purge 2013 of the year is a spittle in the direction of neoliberal pragmatism (caught rather on the director's trouser-leg, but not the essence), in which there are social democratic motives playing a side role. But then ...

In 2014, the franchise makes a sharp turn. “Judgment Night” turns out to be a banal conspiracy of “new founding fathers” (obviously, white supremacists) against the poor (for some curious social and economic reasons, they have to be destroyed), while ordinary people are not in a hurry to kill each other (the authorities send soldiers to poor areas, because death is not enough). Against such arbitrariness (few people, of course, noticed) act, literally, negros-communists. However, this is all in the background, on the first - the most boring story of survival and revenge.

Until the 2016 year comes. Yes, Election Year is exactly what you thought. There are literally characters personifying Trump (the protégé of the white Supremasist ZOG) and Hillary (young, energetic, attractive, but almost alone in his struggle). Behind the last in “Judgment night” come, no kidding, Nazi submachine gunners with “WHITE POWER” stripes and flags of Confederation, whose boss tattooed a swastika in an iron cross, a flag of the USA, a Celtic cross (?), AK (?), a spider web and some other symbols on his head. Why come? Yes, because the local “Trump” is unable to overcome “Hillary” in a fair fight. Ha ha ha, what an irony! The charge of this idiocy (to justify such a “political satire” would be ridiculous), coupled with the most disgusting form, I could not stand, so I do not know how exactly the events developed. But at the end of the Nazis interrupted, and the democratic heroine unconditionally won the election.

So what was it like saying? Propaganda? Well no! I didn’t accidentally spend so much time on the form, because they try to do propaganda with the mind. It should excite the heart and be deposited in the minds, and the only thing that excites The Purge is my stomach, shuddering with laughter. I have a better designation: quick work. But not just a quickie, like Resident Evil: The Final Chapter. Hacking special. A good example of how the market chews on ideologies. This time he managed to distort even modern socialdemism. And the output turned out to be such a charge of shit that I would sincerely be surprised how it could be shown in cinemas if it had not met long before this with the above-mentioned part of the “Resident Evil”.

Competition does not save, and this is the diagnosis of all modern cinema. I used to think that in Japan and Russia everything is so bad, because there is no access to the global market. Now I see that in the global market there are so vile, miserable, disgusting, careless, bastardly degenerative, tasteless projects that even Andreasyan against their background is not so bad. What is worse: these projects pay off, and how!

But, in fairness, the market mechanisms cannot be blamed for everything either: yes, people are fed by shit at the expense of competent marketing. Yes, capitalism reduces ideas to the level of goods. But after all, cinema from the very beginning was massive and commercial - this was approved by the Lumiere brothers themselves. Nevertheless, at various times, brilliant creators and whole trends appeared, rightly called “high art”: German expressionism, Soviet art films (from Gaidai to Kozintsev) and separately - Soviet animation, Disney, Rene Lalu, experimental Japanese animation (in particulars, the creations of Mamoru Hosea), Bergman, Bunuel, Balabanov ...

What was missing - and where is it now? He was buried beneath a series of films about intellectual gay Jews, white cisgender oppressors, sad adolescents, and no less dismal art-house something. The answer to the question “why” must be much more complicated than I can provide. Nevertheless, I place great responsibility on the state of cinema art on the synthesis of neoliberalism and social democracy, which determines the image of the modern world. Discourse governs people, and if each of the discourses having a minor influence preaches moderation ... well, the right word, compare what Akunin writes with “Cartoons” of Elizarov.

Behind moderation is sin, shit and Purge. Moderation should be arranged judgment night. RELEASE THE BEAST !!! And do not look at the victims.

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Vladislav Maksimov

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