‘THE FIRST PURGE’
R 1:39
“The First Purge,” the fourth film in the franchise, is an origin story set in modern day New York that allows creator James DeMonaco to do what he does best — mix social satire with doses of heart-pounding horror. It’s a worthy addition to the B-movie “Purge” cannon, even as it’s depressingly prescient.
For those unfamiliar with the low-budget-but-highearning “Purge” series, here’s how it works: In a dystopian near-future, the government, led by a nefarious party called the New Founding Fathers of America, allows an annual 12-hour period of lawlessness without recriminations. Over the course of a single night, rape, murder, robbery and everything else is permitted across the nation as a way to release anger but also a way to cull from an overpopulated nation and lower crime.
DeMonaco sets “The First Purge” on Staten Island, where the first beta test was launched (and is, incidentally, his hometown). He has bafflingly attracted Oscarwinner Marisa Tomei to play the behavioral scientist who has designed the purge for the NRA-backed New Founding Fathers of America. She’s not on any side here; she’s just a data-driven gal unwittingly about to unleash holy hell on a sealed-off island.
On the ground, we meet our main players — Y’lan Noel, who makes a hunky and very charismatic drug kingpin; Lex Scott Davis, as his old girlfriend who has become a community activist; and Joivan Wade as her younger brother, torn between the lure of quick drug money and his sister’s unwavering morality. Rotimi Paul makes an absolutely frightening psycho and Steve Harris is an always welcome addition.
DeMonaco has handed over directorial duties this time to Gerard McMurray, who made his feature directorial debut with the Netflix hazing drama “Burning Sands.” It is perhaps fitting that McMurray, an African-American director, helps tell the story of an inner-city minority community under siege that overwhelmingly stars actors of color. McMurray has a deft touch juggling action sequences, humor and intimate dialogue.
Starring: Marisa Tomei, Y’lan Noel, and Lex Scott Davis. (Strong disturbing violence throughout, pervasive language, some sexuality and drug use.)
— Mark Kennedy, Associated Press racehorse, whose name lends the film its title.
That’s it. And yet, at the center of this oddly riveting little picaresque is a performance of such quiet power by Plummer — as an antihero both rash and precociously resourceful — that it’s easy to overlook the film’s flaws.
The 18-year-old Plummer’s understated acting is a revelation. By turns frantic, single-minded and lost in the space between confusion and resolve, the character of Charley is rendered as a work in progress: a half-finished, yet deeply appealing, version of the man he will become.
The impulse to be nurtured — to be loved, to find a shoulder to lean on — is strong. But so, the film argues, is the equally human desire for someone or something, if only a horse, to lean back on us.
“Lean on Pete” plays at 5:30 p.m. Friday and Saturday and 2 p.m. Sunday at the Oklahoma City Museum of Art, 415 Couch Drive.
Starring: Charlie Plummer, Amy Seimetz, Steve Buscemi, Chloë Sevigny, and Steve Zahn. (Strong language and brief violence.)
— Michael O’Sullivan, The Washington Post