Given The First Purge is first and foremost a horror movie, this may seem like a redundant question. Blumhouse Productions naturally want us to be afraid of a picture designed to make audiences jump and scream, but The Purge franchise has never been simply a series of jump-scare horror films. The most recent prequel, depicting how the concept of the Purge came to be, presents a deeper, more existential question which, by the day, seems to grow in power.
Should we be scared that The First Purge could actually, in some form, one day happen?
What you make of Love, Simon, and undoubtedly what you take from it, could well depend on your identified sexuality. It shouldn’t, but it doesn’t quite feel we’re at the point yet where gender fluidity and honesty about our sexual preferences is not important. Greg Berlanti’s film, in fact, is all about the fact it still matters.
Love, Simon has been intentionally, specifically crafted to evoke movies and decades past. Adapted from the novel ‘Simon vs the Homo Sapiens Agenda’ by Becky Albertalli, Berlanti’s film wears its inspirations on its sleeve – principally John Hughes, maestro of the 1980’s teen angst comedy, who managed to fuse the colour and vibrancy of that decade with the love-lorn sense of existential trauma about what it means to be young and trying to figure out who you are in that world. The 80’s and 90’s seemed perfectly placed for those kinds of pictures, whether The Breakfast Club or St. Elmo’s Fire, even Ferris Bueller’s Day Off (even if that’s built around more of a narrative gambit), through to films such as Empire Records or the early American Pie films. They may differ in style and tone but all share that same common element of DNA: teenagers figuring out where they fit in.