Peppermint Is A By-The-Numbers Vigilante Flick That's Made Watchable Due to Jennifer Garners Electrifying Performance

      When one thinks of a popular yet generic genre in Hollywood that audiences often find themselves reverting to on a continuous basis, the revenge genre is often regarded as a reliable and highly successful one that people often turn to for reasonably solid entertainment. What is it about the theme of revenge and seeking justice that draws audiences back to these types of films continuously one asks? It has more to do with the idea that the justice system has ultimately failed the main characters as shown with the majority of the films plot, along with the end result being the main characters end up taking the law into their own hands. Their actions set forth a personal quest for justice, that often comes with a trail full of both extreme mayhem and graphic violence. For the audience, it's the illusion of seeing retribution being carried out for the wrong being done to the main character that makes the experience all the more satisfying, even if the story beats feel more familiar with each new film. That very much appears to be the case with Peppermint as Jennifer Garner delivers her most badass and strongest acting performance since her role as Sidney Bristow in the hit Tv show Alias. Whereas her performance ends up being the sole reason the film works, the rest of the film ultimately succumbs to being nothing more than an average by-the-numbers revenge thriller, that lifts every cliche and major plot twist from other films within the same genre.

      The plot for Peppermint focuses on a woman named Riley(Played by Jennifer Garner), being devastated by the murder of her husband and young daughter with her ultimately taking justice into her own hands when the system meant to serve victims ultimately fails her. As entertaining and compelling as the plot for Peppermint comes across, the story has also been done before with similar films such as Quentin Tarentino's The Kill Bills with Uma Thurman, 2007's The Brave One with Jodie Foster, Death Sentence with Kevin Bacon, John Wick with Keanu Reeves, Death Wish with Charles Bronson as well as the remake with Bruce Willis, and A Time To Kill With Samuel L. Jackson. Peppermint despite being mildly entertaining at best, relies heavily on the strength of its main star to make it feel alittle more than just a poor retreat of the other films listed. There isn't anything about the plot presented here that feels creative nor original, and instead recycles the same formula and subplots to glue together a painfully mediocre script, that ultimately feels uninspired. The film lifts everything from the traditional revenge film such as the main character witnessing their loved ones getting killed, along with seeing the corruption of the justice system being revealed right before their eyes with them capturing targets, tying them up, and making them realize their crimes while torturing them. The film even shows the detective characters slowly putting two and two together while being secretly supportive of the main characters actions as she not only does their job for them, but exposes the dirty cops in their police force. If one hasn't seen any of the other films listed, Peppermints story would be even more impressive and exciting rather than feeling bland. The end result is a forgettable action flick that was made somewhat entertaining by its main star, who clearly demonstrates that she still has what it takes to be a female action heroine in today's era of cinema.

      One of the key elements that makes revenge films so exciting and genuinely thrilling to watch is the casting of the films main characters, who not only make their characters out to be sympathetic figures but can pull off the inevitable switch from innocent civilian to a vigilante type role. Whereas the plots of certain revenge films may feel all too familiar or scripts being rather bland, the strength of the actor/actress behind the roles of the main victim can elevate the film into being something more than just a mediocre effort if handled right. With Peppermint, Jennifer Garner surprisingly rises above its unoriginal script and creates a character that's not only sympathetic but engaging to watch when she pursues the men who took her family away from her. She gives what's arguably her best performance in years and helps give the film some of it's much needed energy to be somewhat exciting. John Ortiz turns in a strong performance as Detective Moises Beltran, who pursues Garner's character as she initiates her justice. Despite playing a character that feels generic as the typical cop putting all the pieces of the puzzle together while being one step behind the vigilante, Ortiz still manages to make his character likable. John Gallagher Jr. also turns in a decent performance as Detective Stan Carmichael with his character also pursuing Garner's. Other notable supporting roles are Juan Pablo Raba as the films main antagonist Diego Garcia. He does the best job he can with his one-dimensional villain role. Annie lionzeh also leaves a positive impression on audiences as FBI Agent Lisa Inman, Jeff Hephner as Riley's husband Chris North, Cliff Smith as Narcotics Detective Barker, and Cailey Fleming as Riley's daughter Carley North in a brief performance along with Hephner. The cast for Peppermint performs about as well as one would expect them to with the characters handed to them along with the films plot. None of the performances are terrible but besides Garner's terrific performance as Riley North, the rest of the cast despite being appealing as a whole, turns in relatively decent performances that help make up​ for the scripts shortcomings with the story being entertaining to watch at the very least.

      Directed by Pierre Morel who helmed Taken, he brings a similar style of fast-cuts and kinetic energy to directing the films action sequences that make them interesting to watch, despite the script not being as strong this time around. Morel keeps the story moving fast-paced with the first 30 mins showing what happened to Riley's family before going into full blown Kill Bill/The Brave One mode with Garner exacting some sweet revenge on those who harmed her family. The violence shown in the film is both extreme and brutal with Morel not holding anything back for the audience. Through the use of the films effective cinematography, he presents the violence as being both quick and rapid in terms of showing Riley taking out her henchmen methodically. While he refrains from using any excessive gore that reaches Eli Roth style territory in terms of being overly graphic, he still presents the action sequences and violence as being both deeply intense as well as exciting and ultimately dynamic. He presents Riley exacting her revenge as something the audience looks forward to in between the by-the-numbers plot with the detectives trying to track her down or the villains showing frustration with her interrupting their plans and plotting to get rid of her. Whereas the script fails the movie, Morels directing along with Garner's performance arrive to raise the film to the level of being passable entertainment at the very least. One wonders what this film could've turned out like if more thought was put into the films script.

      The films screenplay by Chad St. John comes across as feeling pretty standard for a vigilante action flick with the film feeling as if it's going through the motions in regards to telling its story. The audience gets a brief glimpse into what Riley's life was like prior to the murder of her husband and daughter, which has become the standard norm for revenge flicks with showing the past before moving into the present with the main characters. What the script does well is building up Garner's character to be a force to be reckoned with in regards to her seeking vengeance. The films antagonists are portrayed as being typical baddies, who are foolish enough to think they can outsmart the person gunning for them. There is no heavy nor deep development with the villains other than the audience automatically despises them for what they did to Riley's family. There's also nothing new in regards to presenting the films authorative figures as they act like generic tropes in the revenge film with their main objective being to be one step behind the main character in regards both pursuing them, as well as figuring out their main motivation for killing off their targets. What are meant to be shocking plot twists for the audience prove to be nothing surprising for those who've seen enough of these movies as the reveals can be seen a mile away regarding characters that the audience thought to be righteous turning out to be crooked or the villains thinking they killed the main character. These elements are no surprise to the audience as they've been done before with most cases having them being executed more effectively. The script misses the opportunity to further emphasize Riley's switch from innocent civilian to female badass by showing how she acquired her weapons or learned how to use them. Her character is regarded as being a hero to the homeless community whom she resides with, but the audience doesn't see much of the things she does to inspire people to spray paint her picture on walls. Unlike films such as The Brave One or 2018's remake of Death Wish, Peppermint teases the question of whether Riley's actions are justified in the eyes of the public with the consensus barely being shown or referenced. The idea that the majority of the public agrees with Riley's vigilantism, is treated as an afterthought and not given its proper elaboration that could've added a deeper layer to the plot. With those films, the audience got several moments where the main characters performed good deeds for people around shady neighborhoods that made them appreciate their actions regardless of how extreme they came across as being. The one example that Peppermint gives audiences is a scene involving Riley confronting a neglectful alcoholic father and scaring him into being a better father with sticking a gun in his mouth. While such an action may appear as being a bit extreme given the set up of that scenario, it's the only moment that audiences get to see why the neighborhood appreciates Riley as a savior type figure. The script for Peppermint overall feels like a huge missed opportunity to explore some of its themes regarding loss of loved ones, a failed justice system, corruption, revenge, vigilantism, and justice with the end result being just a fast-paced yet average revenge thriller that offers nothing new to audiences.

      As talented of an actress as Jennifer Garner is (She's not only a terrific actress but proves she can still be a compelling female action heroine star), she deserved a much better script to work off. The film essentially lives and breathes because of her presence here with the action scenes being well-executed and choreographed. If one wants to see a solid revenge thriller that explores the concept of vigilantism deeper than whats presented here, they should watch Jodie Fosters The Brave One Instead. It's similar but carries with it a stronger story, as well as generating much more sympathy for her character with the same being said for Death Sentence. The film came out several months after the release of Eli Roth's remake of Death Wish. Despite Garner's performance being stronger than Bruce Willis in the main role, Death Wish whether audiences liked or disliked the film, at least attempted to explore many of the themes that Peppermint teases but ultimately​ treats them as being after thoughts. In the end, the film ultimately disappoints because the filmmakers didn't bother to explore what they had nor meet the kind of enthusiasm and energy, that its main star brought to the film. She's the only reason that such an average and forgettable action flick, is even worth bothering with in terms of giving it the time to watch.

Final Verdict: Fans of vigilante style action thrillers will find moderate entertainment in Peppermint largely thanks to Jennifer Garner's terrific performance. Those looking for a more in-depth plot with an exploration of many of the themes Peppermint touches on should instead watch The Brave One with Jodie Foster, as it carries a stronger story.

Hereditary Delivers Classic Paranormal Suspense With A Fantastic Performance From Toni Collette

      When it comes to making scary films, most horror films nowadays rely on shock value such as extreme violence and relentless gore to get a reaction from the audience. The horror films of today rely on visuals to do the scaring and creeping out the audience. However, there are some horror films that aim to go deeper than just delivering frightening images but seek to get inside the head of the audience members psychologically. They strive to create narratives and uneven plots that deliberately require the audience to not only think, but put the plot together like pieces of a puzzle. That very much appears to be the case with Hereditary as the film seeks to present itself as a deep psychological thriller, that uses a confusing plot to throw the audience off before pulling the rug from underneath them in the end with moments of pure shock value prior to remind them of the bizarreness of the story. The end result however, is one that proves not to be a bad effort though may ultimately feel as if it deliberately goes over the audiences head at times. What holds the film together, is the fantastic performance of Toni Collette in the films main role along with the movie ultimately being well-crafted. Hereditary presents itself as being a film that's clearly not for everyone, but there's more to appreciate about the film rather than dislike about it.

      The plot for Hereditary centers around the matriarch of a prominent family who dies after suffering several serious mental disorders. Her eldest daughter Annie (Played by Toni Collette), learns of many disturbing family secrets afterwards with the discoveries ultimately becoming overwhelming as both her and her family attempt to escape a terrifying and fate. Hereditary's plot feels like an old-school 1960's or 70's horror film such as Rosemary's Baby, Wicker Man, or The Exorcist mixed with the Paranormal Activity franchise in which everything seems fairly normal on the surface, though the audience senses that something sinister is boiling underneath. The film attempts to replicate that style of classic terror and confusion, while steadily building up both its plot and characters. Hereditary aims hard to give its audience an unusual experience along with not letting them off the hook in regards to trying to decipher the events unfolding on the screen. The films twists and turns are sprinkled throughout the story with the audience feeling their impact when they do arrive. This is a film that relies on the strength of its main cast, as well as a dark atmosphere surrounding them with steady pacing to make the story as effective as it ultimately turns out to be. Hereditary doesn't concern itself with succumbing​ to the regular traditional conventions of a typical horror thriller and aims to be different. It's desire to take what's essentially an old school ghost story and turn it on the audiences head, is a commendable effort that deserves admiration as it does a fairly solid job of doing so.

      One of the films strongest elements is the performances of the main cast. Toni Collette once again shows audiences that she's an extremely talented and underrated actress with her performance being simply fantastic. Collette carries the bulk of the film on her shoulders with her role as miniature artist, Annie Graham. She effectively plays a woman whose shown to be both full of grief and pain, while slowly losing her sanity as she notices strange and unnatural things happening around her family. Gabriel Byrne does well with his role as Annie's husband and psychiatrist Steve Graham. Byrne plays the role of the disbelieving husband, whose convinced his wife is slowly losing it as she tries to get him to realize the strange things occurring around them. He does well with his part and works off Collette's performance, who arguably delivers the better performance of the two. Alex Wolff does exceptionally well playing Annie's and Steve's 16-year-old son Peter Graham, with his character being given more of a complex with his surprise twist that occurs later in the story. He does well with presenting his character as being on the neutral side of his folks in regards to what's happening around them with some of his best scenes consisting of him and Collette acting together (The dinner scene is a stunning example of both their performances being put on full display with them grieving over the loss of a loved one and throwing the blame card at each other). Milly Shapiro impresses as Annie's and Steve's 13-year-old daughter Charlie Graham. Both her and Wolff work well off each other in terms of them both delivering roles playing natural siblings, while being able to convey the tension and frightening aspects regarding their character arcs. Other notable supporting performances are Ann Down as Joan, a support group member who befriends Annie with her character later being revealed to have surprise connections to Annie's deceased mother. The performances as a whole all rise to the occasion of being solid work while bringing believability and added suspense to the story. Toni Collette's performance is nothing short of fantastic with one getting the growing feeling upon watching the film, that she was painfully overlooked in regards to receiving an Academy Award nomination for her brilliant performance in the film.

      In terms of the films directing, filmmaker Ari Aster (In his impressive directorial debut) proves to be both highly-skilled as well as effective in regards to setting up the appropriate atmosphere and mood that the story requires. He also appears to trust his actors as he allows them free reign to play their roles to maximum effect. Aster does well with setting up the main characters along with showing the traumatic experiences that happen to them repeatedly in the first half before entering horror territory with the second. He gives the film a steady buildup of suspense with the films editing and score by Colin Stetson, that feels menacing yet appropriately fits the tone of the story. Aster succeeds in giving the film the right look and tone, while rightfully holding back on the films shocking moments of gratuitous violence, therefore making them more effective when they do occur. Hereditary unquestionably feels like a love letter to classic horror cinema, that's psychological while managing to be surprising in the violence department. For a first effort, Aster shows promise as a newcoming director with hope that he will expand his talents further with the horror genre. One greatly admires that Aster wasn't looking to unanimously please everyone, and opted instead to take risks with the film with the end result paying off much to the films effect.

      The screenplay also by Aster, works effectively in terms of setting up the themes of the story pertaining to severe mental illnesses with Toni Collette's characters decreasing mental state being a perfect example. Other themes the film explores are gender confusion, dementia, hereditary conditions, family, curses, demon possessions, seances, and paranormal activities. The script explores all of these concepts while effectively showing the anger, fear, and panic that the main characters have at the strange occurrences happening around them, as well as the confusion behind it all. The films ultimate message is one that says that untreated mental illnesses and obsession with the paranormal can ultimately prove to be deadly. What Aster does well in terms of writing the script is building up the tension in the story, along with the family struggling to remain whole given the tragedy they experience. The film builds up its suspense with the audience remaining engaged in the story to see what happens in the end with these characters, although the films final scene may leave some viewers scratching their heads despite being a creepy twist to wrap up the story. In terms of the script, the story is well-structured, believable and engaging. The story moves at its own pace, which may feel too slow to certain viewers but the films plot and characters arcs make it interesting enough to maintain the audiences interest with how twisted the story appears the more it unfolds.

      Besides all of the pros of the film, the movie has a few negatives which hold it back from being great such as the script occasionally falling into the trap of other generic paranormal films before it, such as the wife slowly losing her mind and trying to convince her non-believing husband that the spirits are real. Despite those faults giving the story a sense of Deja Vu to viewers, Hereditary largely overcomes those issues by presenting a new angle to the paranormal set of horror flicks while being smart, daring, and relentless with its presentation. The film wouldn't turn out as good as it ultimately does without the incredible performance of its main cast nor its brilliant director, who stuck to his convictions with the way he presented the story while disregarding the fact that the film ultimately polarizes rather than pleases everyone. As Hereditary demonstrates, some films are mean't to go further than just entertain, but to test the waters in regards to what audiences tolerate as well as where their limits are in regards to getting both puzzled and spooked. The film despite being expertly told desires to take its audience on a dark and twisted ride, that messes with them psychologically with the ultimate outcome being it does just that with largely satisfying results. Not every film needs to have a straight-forward narrative that spoon-feeds the audience the entire plot essentially, with some films still managing to deliver the entertainment while requiring the audience to do their part in terms of dissecting the hidden messages and meanings behind the films plot and character arcs. Hereditary is a film that knows what it wishes itself to be, and never once shines away from its ultimate goal which is to entertain and creep out audiences. For those looking for a horror film that leans more towards the psychological side with an old-school set up, Hereditary delivers audiences that antidote as the film is unsettling, harrowing, creepy, and ultimately brave with Toni Collette's performance being explosive, as well as the main sole reason to see the film. Whereas Strangers: Prey At Night and Halloween 2018 aimed to give audiences a taste of the classic glory days of slasher flicks, Hereditary aims to take things up a notch while paying true to the psychological thriller formula, that paranormal activity themed movies thrived off and does so unapologetically.

Final Verdict: If one wants old-school suspense and tension with great acting and surprising directing from a newcomer, Hereditary is the film to see as it not only fulfills those needs but provides a few surprises of its own in regards to its plot and overall quality.

Netflix's Roma Delivers A Moving And Inspirational Story That Feels Both Poignant And Timely

      When it comes to Hollywood directors, very few carry the distinction of being as versatile, well rounded, and renowned as visionary filmmaker Alfonso Cuaron. Cuaron's resume of films is one that's unquestionably striking to audiences and film lovers as his works consist of mostly acclaimed films such as 1994's A Little Princess, 1998's Great Expectations, Yu Tu Mama Tambien, Harry Potter And The Prisoner Of Azkaban, Children Of Men, and Gravity. As Cuaron's body of work shows, he's a filmmaker of impeccable talent with him being able to shift from directing family-themed films to low-key dramas as well as big-budget science fiction themed films. With Gravity putting him at his peak as a filmmaker in regards to both critical acclaim and box office stature, audiences wondered what Cuaron's next project would be to continue his hot streak as a filmmaker. It would take a total of five years after the release of Gravity but Cuaron manages to work his magic and make lightning strike twice with Netflix's Roma. Premiering at the 75th Venice International Film Festival on August 30 2018, the film received a limited theatrical run in the United States before premiering on Netflix in December 2018. Receiving unanimous critical acclaim, the film made history with becoming the first Netflix film to be nominated for an Academy Award for Best Picture. Despite losing it to Green Book that year, Roma received 10 nominations total with it ultimately collecting a total of three Oscar wins including a Best Director win for Cuaron, Best Foreign-Film, and Best Cinematography. For audiences who've caught Roma since it's initial release on Netflix, it's no mystery as to why the film was so adored and well-received. The film is powerful, extremely well-crafted, and inspiring with its story centering around the journey of a middle-class Latin maid during the 1970's era with themes and messages that feel relevant to today's world. The film also further cements Cuaron's stature as being a filmmaker of pure craftsmanship as he not only writes, but produces and directs the project making it one of his more personal and well-made films as the story is essentially molded by his own childhood experiences growing up. The end result proudly stands as being one of the best films of 2018, hands down with a powerful message that says those who are deemed less significant in others lives can ultimately become the ones that hold families together and ultimately strengthen them.

      The plot for Roma takes place during the 1970's era with the film chronicling a year in the life of a young maid named Cleo (Played by Yalitza Aparicio in an Oscar nominated performance), who not only looks after a broken family struggling to stay together when the husband/father abandons them with his mistress, but the maid also ends up becoming pregnant during a brief but ill-fated relationship when the father of their child abandons her as well. Set against the backdrop of political turmoil in the Roma district of Mexico during the 1970-1971 period, Cuaron shapes and molds the story to mirror his own personal experiences with his upper-middle-class family life during that era with the film almost serving as an autobiographical drama. One can argue that this is perhaps the most personal of Cuaron's films as he manages to craft an emotional story that's beautiful told with utter perfection, but also uses it to reflect on his own past while carrying over some heavy themes that feel timely with today's world and how servants or maids are looked upon as being. The film carries with it stellar acting, steady directing that feels intimate allowing the actors complete freedom to play their characters as well as controlling the scene, and has both cinematography and editing that feels both breathtaking as well as giving the story the appropriate beat. Roma is a story that's told with patience, conviction, and carries with it absolute heart and sincerity in presenting it's story on the big screen. It is a personal journey that draws audiences in and leaves them with a greater sense of understanding and acceptance after experiencing the journey of the main character.

      The films greatest strength lies within the performances of its main cast, particularly from two strong actresses that garnered rightful Oscar nominations for their amazing work here. The films strongest performance comes from its main star, whose unquestionably the heart and soul of the film. Yalitza Aparicio does a terrific job playing Cleo Gutierrez, the families maid who experiences a journey that's both life-changing and inspiring with the strength of her character ultimately being tested. Aparicio beautifully crafts a character whose struggling to find her own footing in life with her perfectly conveying all the required emotions for the character that the script calls for. It's almost near impossible for the audience to watch her performance and not feel some type of compassion or empathy for her character as she only means to do well for the family she cares for, as well as be accepted by the man she bears a child with. The films other impressive performance comes from Marina de Tavira (Who along with Yalitza, also received a well-deserved Oscar nomination for Best Supporting​ Actress) as Sofia, the mother of the family that Cleo cares for. Tavira does exceptionally well with her role of playing a wife/mother in disbelief of what's happening to her family while continuously reassuring her kids that their father will return despite her growing realization that it's over. Tavira does a solid job of showcasing all the different emotions of her character from being angry to heartbroken with her character walking a similar arc to Cleo's. Both Aparicio and Tavira work well off each other along with showcasing strong chemistry together with the audience witnessing their friendship grow through their characters experiences of losing the men in their lives, while being forced to care for their own families. Both women's performances are the key to the story and ultimately are what makes it such a powerful experience ultimately. Other noteworthy performances are Jorge Antonio Guerrero as Cleo's lover Fermin with the audience instantly despising his character once they see his true motivations upon learning of Cleo's pregnancy. Nancy Garcia also impresses as Cleo's friend, and another of the families housemaids Adela. Marco Graf, Daniela Demesa, Diego Cortina Autrey and Carlos Peralta all do well playing their roles of the families kids Pepe, Sofi, Tono, and Paco. Much of the success of Roma can be contributed to the outstanding performances from its main cast with Aparacio and Tavira both giving the story its emotional power with their work here. The film wouldn't have turned out as powerful nor as brilliant as it does without them in their roles as they provide the film with its soul.

      In terms of directing, Cuaron once again demonstrates that he's an expert at his craft with being one of the finest directors in the business, who can capture raw human drama effectively on camera while managing to make the audience connect with the characters. Watching the film, it becomes clear to the audience that Cuaron puts his heart and soul into the story with him getting the maximum effort out of his actors, while masterfully blending both the visual element of Roma with presenting a straight-forward and consistent narrative. The decision to film the movie in black-and-white was a unique and ultimately clever decision as it takes the audience back to the time period the story takes place while leaving the main focus being on the performances. The moments of violence and graphic nudity presented are handled in a way that doesn't shy away from their usage with those moments generating the appropriate impact from the audience in regards to shock value. The use of the films violence proves to be as blatant as Cuaron's work on Children Of Men with the nudity giving one flashbacks to Yu Tu Mama Tambien. The films camera work along with the set and costume design all manage to go hand in hand together in terms of bringing the style and look of 1970's Mexico to life. The film moves at a very slow pace but Cuaron utilizes every minute of film to enhance Cleo's journey with the audience taking in the quiet moments with the characters along with feeling the impact of key emotional scenes. The film always remains first and foremost Cleo's journey and Cuaron directs it with her character being the main focus, bringing his trademark meditative and self-reflective style of filmmaking to the table. Through use of the films visual elements, he captures the beauty of 1970's Mexico even if it's full of imperfections that plagued the time such as poverty, racism, and violent protests. With Roma, Cuaron doesn't just create a film, he creates an experience that leads the audience into the story with the cinematography cementing their transformation back to a past that carries much relevance to today. It is hands down the most personal film that Cuaron has directed out of his career, but it shows how skilled he is as a filmmaker as well as his passion for revisiting his roots through Cleo's story being affectionately told on the screen. As far as his directing goes, Cuaron's second Oscar win is well warranted as his most personal film might be his greatest work in terms of utilizing his knowledge as both a visionary and emotional storyteller.

      The scriptwriting by Cuaron serves as being both strong and expertly written with the story being well-structured and not losing sight of the films main focus which is Cleo's journey. The story is told from her perspective with the family and other side characters being seen by the audience through her eyes and experience. This is a storytelling technique that Cuaron uses with many of his previous films and here it proves to be as equally effective. The film weaves together themes that feel relevant to today's society despite taking place in 1970's Mexico such as​ class distinctions, distribution of wealth, political protests, authoritarianism, and unwanted pregnancies. Many of these concepts are at the forefront of today's political climate which makes the story of Roma one that's both significant and timely. With the film, Cuaron delivers a message to the audience that says that life is full of pain and turmoil but a person who may look to be insignificant in the eyes of others can emerge as being the glue that ultimately keeps a family together with some cases having them strengthen it. The film eloquently draws the audience to that conclusion by showing the growth that Cleo has with the family she cares for while dealing with her own troubles. It is the pain and loss that both Cleo and the families mother Sofia feel, that ultimately connects their stories together along with drawing them closer as one united family. The films final scene is a pure example of such message with the ending being deeply moving and inspirational to the audience with Cleo's arc essentially being fulfilled with her finding her place in life as an extended family member of Sofia's. In terms of writing the characters, Cuaron does a phenomenal job with setting up both their main arcs along with providing little subtle details regarding the background of 1970's Mexico such as bands playing on the streets with children running to greet them, servants washing clothes, the main characters attempting to fit old classic 1960's cars in small driveways, street protests erupting into a firefight that prompts a pregnant woman to have her water break early and rushed to the hospital to unsuccessfully deliver her baby. Even visual shots such as a wealthy looking neighborhood leading into a slum does much to deliver the point that Cuaron makes regarding class distinctions. The best part about the writing of the film is nothing feels like it's rushed nor forced on the audience, but the journey that the main characters endure is one that feels like a slow and gradual progression. Cuaron's skill as both director and writer are put on full display here with largely impressive results.

       In the end, Roma is a story about a simple woman who experienced a year full of loss and pain, but also found hope, and acceptance with the family she cared for. It's a story that's not only a reflection of the past but also speaks to the times were in now (One suspects that's one of the main motivators behind Cuaron wanting to tell this story). By showing the story of Cleo as detailed and powerful as it comes across, Cuaron gives those deemed less important ( Or in this case that one family servant whom nobody stops to wonder about their life or well-being) a voice with him telling their story and making their perspective one that's understandable to others. Roma is a story about the strength of women and how one persons experience can affect another in both a positive and life-changing way. Whereas most movies are made to entertain without much thought being required after viewing them, Roma aims for the heart and make audiences think, question, and temporarily walk in the shoes of the other person. For Cuaron, this film may be the most personal he's ever gotten as a director but he brilliantly crafts a story that will essentially go down as being both emotionally absorbing and timeless. One doesn't see how he could possibly top this film nor Gravity with his current hot streak but as Cuaron has shown throughout his remarkable filmography, anything is possible.

Final Verdict: For both film lovers and Alfonso Cuaron fans, Netflix's Roma is a gem of a story as its brilliantly directed, extremely well-acted, and hard-hitting with its final scene.

The First Purge Struggles With Balancing Out Its Franchise Roots With It's Heavy-Handed Societal Message

      When one thinks of popular horror movie franchises, The Purge series comes to mind with it proving to be an unusual case as the films continue to do respectable business for the type of films they are despite receiving mixed reviews from both critics and audiences. What makes the Purge franchise appealing to audiences, is the idea of the most horrific acts of violence being sanctioned to be committed for one night. The first Purge introduced this unique concept despite the overall execution feeling like a bit of a letdown with the story being confined to just a regular home invasion flick with a family being terrorized by outside forces during the national ritual. The second Purge attempted to rectify that common criticism of the first film by going more Escape From New York style with it, leading to the film being an overall improvement over its predecessor. The Purge: Election Year despite being effective, felt like a indirect satire of the 2016 Presidential Election as it was released during the summer period of that year. Fast-forward two years later, audiences get treated to a prequel set before the events of the first film in 2014, that depicts the origins of the annual purge with the stories location being shifted to Stanten Island with the main focus being on low-income individuals being coerced to participate in the Purge in exchange for being paid. What sounded like a promising opportunity to explore the origins of the originals story turns out to be a huge missed opportunity as the film not only fails to properly give audiences the proper birth of the event, but also completely manages to waste its interesting and thought-provoking storyline in poor fashion (Though the overall film itself is at the very least watchable for fans of the series). The plot for The First Purge sounds like it could've been a well-executed and memorable installment in the series if the film had a filmmaker like Jordan Peele behind it. Not only is The First Purge the worst installment of the Purge franchise, the series itself appears to be losing the edge that made it a hit with audiences in the first place despite none of the films reaching their full potential in terms of living up to the scope of the plot.

      The plot for The First Purge takes place before the events of the original with the film focusing on a test run involving an annual 12-hour period of legalized murder set on Staten Island in a dystopian futuristic America. Based on the findings of a behavioral scientist (Played by Marisa Tomei), the government, which is led by an NRA-backed far-right party called New Founding Father's of America, expects an annual bloodletting will not only decrease crime rates for the rest of the remaining year but also significantly decrease minority populations. Looking at the plot for the film, the concept behind The First Purge is one that's not only intriguing but had tremendous potential to be a horror/action flick that brought something new to the table in regards to being both entertaining as well as being one that could've been extremely well-crafted instead of serving as being a poorly handled installment in the series. The First Purge unfortunately easily ends up being the worst installment of the series thus far due to lackluster writing, directing, and uninspired storytelling. The films faults are a shame in itself because the themes and concepts the film tackles would've made for it being a strong and powerful entry. Although it can be argued that none of the Purge films come close to being great other than being passable to reasonably solid entertainment, the previous films (Particularly the first and Anarchy) had a certain amount of edge and suspense to them that was enough to make up for their shortcomings. The First Purge suffers from a lack of uninteresting characters and what feels like an incomplete origin story despite the concept of minority groups being targeted for the Purge being both an interesting and clever concept. One can only imagine what the film could've ultimately ended up being if it had the right filmmakers behind it with proper dedication for telling the story, as well as handling the films political messages that often feel like it overshadows the horror nature of the plot.

      In addition to the film misfiring as a whole in regards to its execution, the acting performances by the main cast prove to be a mixed bag overall with the main performances being ultimately what you would expect them to end up being with a horror film like The Purge series. While the performances themselves end up being passable, they're not necessarily anything to write home about. In the main roles, Y'lan Noel and Lex Scott Davis both perform reasonably well playing young characters Dimitri and Nya. Noel tries to make the best of his shallow role as a crime lord on Staten Island, whose conflicted between his current profession and still harboring feelings for his ex-gf Nya, who firmly opposes his newfound lifestyle/business. Noel's performance isn't terrible, though his character isn't well fleshed out enough to make the audience care about him, particularly when the purging starts. Lex Scott Davis gives the stronger performance of the two with her character having more of a complex with the role of anti-purge activist Nya. Davis succeeds in making her character both likable and sympathetic to the audience as she not only fights to sway people from participating in the Purge, but also struggles to keep her younger brother off the streets away from a life of crime. Joivan Wade does well playing Nya's younger brother Isaiah, who sells drugs on the side as a way of getting by before ultimately volunteering to participate in the Purge to seek revenge on a street drug-addict, who attacked him prior named Skeletor. Marissa Tomei makes the most of her sizable role as the Purges architect Dr. May Updale with her character later discovering the true intentions behind the use of the ritual. The rest of the supporting cast includes Mugga as a sassy character named Dolores who serves as being the films comic relief, Lauren Velez as a vulnerable neighborhood mother Luisa with her daughter Selina played by Kristen Solis, Levy Tran as Roenick, Patch Darragh as the slimy Chief of Staff/ Arlo Sabian, and Rotimi Paul in a scene-stealing performance as Skeletor. Overall, the performances as a whole prove to be serviceable ones at best with the cast providing enough believability to the story, even if many of their characters come across as feeling rather generic and one-dimensional (Though that's the fault of the writers, not the actors themselves). Horror films like The Purge largely depend on the strength of their casts to make their stories work with audiences with the cast here appearing to do the best work they can with the direction and scriptwriting handed to them.

      The films directing by Gerard McMurray (Taking over the directing reigns from James DeMonaco, who now serves as both writer and co-producer of this film), is average at best with McMurray attempting to keep the style of this film consistent with the previous three films in terms of the series violent nature in regards to its use of gore. The film attempts to build up some reasonably decent suspense both before and during the events of the Purge. McMurray spends the first third of the movie establishing the films plot and key characters so the audience can build some kind of connection to them, as well as understanding what's at stake. While McMurray proves to be no DeMonaco in regards to crafting solid action sequences, his work here isn't totally ineffective as he he manages to catch the audiences interest and hold it during the films intense sequences. McMurray also surprises audiences with new twists to the Purge ritual such as the use of drones in the story, that are targeted to assassinate others during the ritual and eyeball-lenses that are color-coded for the Purgers wearing them to record their mayhem so others can track their progress. These additions give the story a more high-tech approach with the cinematography proving to once again to be effective in capturing the horrors and brutality of the evening. The films editing is well-paced and utilizes it's time properly to set up the characters in the beginning, then accelerates the suspense when the purging starts. The soundtrack for The First Purge proves effective in showcasing music centered around the culture shown on Staten Island, while adding to the suspense and emotions the story carries. Whereas the story carries with it rightful questions that audiences should ask in regards to the treatment of low-income communities in America, McMurray at least manages to take those themes and present them in a fashion that's both entertaining to watch as well as eye-opening despite not possessing the skillful talents that acclaimed filmmakers Ryan Coogler and Jordan Peele carry with them. Although The First Purge isn't very good as an overall film, McMurray works overtime to make the experience as being at the very least watchable for both fans of the series as well as horror fans.

      The films screenplay is where the movie feels the most bogged down despite having the strongest themes and messages of the series behind it. The script by James DeMonaco shows its strengths when the film explores the politically charged concepts that the film aggressively presents as a way to make audiences think, reflect, and question the society surrounding them despite the story being fictional. DeMonaco's work with the Purge franchise proves to be at its strongest when he dives into the social issues of the films plot such as the rich pushing for the poor to be participants with the purging. The First Purge effectively explores themes regarding fascism with the new third party group initiating the Purge in an effort to kill off large portions of lower-income Americans so the wealthy doesn't have to support them. The film also shows how hate crimes and racism come into play during the Purge with white supremacist groups such as the KKK being essentially given the greenlight to go after minorities. The film also touches upon other politics with it often feeling like a condemnation of the far-right with other elements such as population control (Hence the secret reason behind the Purge), protesting against an evil system, and the formation of a resistance against the powers pushing for the Purge all coming into play and giving the story a viewpoint, that's engaging despite the films overall message of far-right politics ultimately leading to both dictatorships and genocide feeling a bit heavy-handed at times for the film. As for the films character development, it's just about what one would expect from a typical horror film with it being minimal. As hard as the filmmakers try to make Dimitri a complexed and appealing character in the story, he doesn't come across as being very likable nor sympathetic as audiences frankly don't care if he lives through the Purge or not. The characters that manage to generate moderate sympathy from the audience are the siblings Nya and Isaiah. The character of Dolores is used as a the films comic relief, though some of her humor works while the rest feels forced. The subplot between Dr. May and Chief Of Staff Arlo helps to give the film a moral compass with the two inevitably clashing over the moral issue of initiating the Purge. With DeMonaco's script, he incorporates numerous subplots and characters arcs to show the scope of the Purge despite the characters often feeling one-dimensional at times (Cough Dimitri Cough). The character of Skeletor is brilliantly used as an insight for the audience to understand the craving that some people have for wanting to participate in the Purge, making the experience one that's genuinely creepy and having a nightmarish feel to it. The script for The First Purge as a whole works best when the main focus is on the politics surrounding the initiation of the Purge as well as the action that follows. The story struggles when it comes to establishing it's main characters with the films believability being thrown out the window with the films third act showing Dimitri acting as a one man army against a militia in an apartment complex. While the action isn't bad, the complete nonsense and sudden action hero aspect of the character is.

      Overall The First Purge finds itself being a difficult film to judge in terms of being either a good or bad movie. The film clearly that could've been far better than what it ultimately turns out to be, but also isn't a complete failure of a horror story as it gives fans of the series what they want to see in regards to the graphic nature of the Purge. The best way to sum up the film is it being a missed opportunity ultimately, and just barely passes as being watchable though the weakest installment of the series. Although the film struggles with balancing out it's​ well-intended message with the horror elements of the story, it still manages to ground itself as being a brutal yet mildly entertaining thrill ride with a message that aims the films heart in the right place. Those who enjoy The Purge series as a whole will feel it doesn't live up to some of the previous installments, but still manages to pack enough excitement and emotional pull with the films political landscape to not only entertain but ask the hard-hitting questions the film demands the audience ask about whether America as a whole treats all of their citizens fairly. While the films political revelations regarding the low-income communities may be uncomfortable for some audiences as it may feel too close to home, others will find the experience to be eye-opening and wonder about the films themes while harnessing in its horror and action elements. For Purge fans as well as audiences in general, that's probably the best way approach the film in regards to watching it.

Final Verdict: For fans of The Purge series as well as horror films in general, The First Purge is worth a watch though it's not as well-executed and effective as it could've been. The films political messages may prove to be heavy for some viewers, but help to ultimately bring both relevance and realism to the story.