The Purge (2013)

“The Purge” is horror with a nasty serving of satire that slashes at the Tea Party elites who think wealth makes them holier than anyone below them, and yet angry at anyone who dares have a bigger house or a nicer car. I dug it. Ethan Hawke plays a self-satisfied hawker of home security devices in year 2022 of a post right-wing-revolution “New” America. Money is God. Guns are the Holy Son. The NRA might be running the show. One day each year, true “patriots” –- the haves -– are allowed (encouraged) to rape and murder at will, with the bottom of the economic chain the true target. But, Hawke’s quirky liberal teen son (Max Burkholder) opens the family fortress to a hunted veteran and soon preppy masked hunters come house crashing. (The sociopathic leader is unfailingly polite and dressed in a blazer with a haircut that screams edgy Young Republican. I knew assholes like him in college.) Writer/director James DeMonaco might not have a great film, but it’s daring, even if the end has too many pointers and Lena Headey’s wife remains flat. (I had hopes the “good” son might turn a shocking path, but did not happen.) B

Getaway (2013)

The 2013 “Getaway” is terrible. Horribly “Can You Believe This Shit!?!” bad. Do not confuse it with the 1970s Steve McQueen flick or its Alec Baldwin remake. This stiff has Ethan Hawke as Brent Magna, an ex-NASCAR driver living in Bulgaria (!?!) who steals a Mustang and causes havoc on Sofia streets as ordered by an unseen criminal mastermind who has kidnapped Magna’s wife as collateral. Brent’s task: Blow up the city’s power station –- protected with a key pad lock (!) -– so the mastermind can pull off a daring robbery in darkness. The howler: Brent destroys the power grid … and not a street light blinks or a McDonald’s arch darkens. Nothing. Nadda. But. BUT. The actors pretend it is pitch dark. Seriously. The leap of logic gymnastics is breathtaking. Director Courtney Solomon -– he made the incompetent “Dungeons & Dragons” -– shoots and edits every car chase -– it’s nothing but –- as split-second visual seizures, and repeats the same footage. Hawke must have been desperate for money. The final nail: Selena Gomez (!?!) plays a pistol-packing carjacker. GTFO. F

Boyhood (2014)

Filmed during a 12-year period, Richard Linklater’s “Boyhood” follows a Texan child (Ellar Coltrane) from 6 to 18, from mishaps with pencil sharpeners to flirtations with marijuana and leaving for college. This has never been done before, not with one child, growing, maturing, faltering, and excelling in one motion. Stunt? No. The beauty of Linklater’s astounding film is how small it remains, this is not Gandhi, nor is there was or revolt. Mason plays Wii, watches movies, gets a car, a crappy job, and leaves for college. Mom (Patricia Arquette) struggles to better herself, for herself and her children (the director’s daughter, Lorelei Linklater, plays Mason’s sister), while dad (Ethan Hawke) takes decades to mature. Mistakes are made as mom remarries, and sees those relationships unravel fast, while dad quite can’t nail child interaction. Mason photographs. If there’s any “enemy” here, it is alcohol. Addiction, as empty escape. Linklater has Mason realize that trap on his own, observing, tasting for himself, observing, realizing. Coltrane’s performance is so natural, you buy him as Mason, unsure of where fiction and reality divide, and one cannot help but get swept up in Linklater’s ode to ordinary family life, drama, and love. A

P.S.  I'll revisit this film again and again, as I feel I will react to as I did “Tree of Life.” It is that good. That mind and soul altering. 

Before Midnight (2013)

During a summer heavy on superheroes and angry robots, “Before Midnight” is a miracle dose of meds against overindulgence. This is the third chapter in the “Before” series -– “Before Sunrise” came in 1995, “Before Sunset” nine years later -– that follows American writer Jesse (Ethan Hawke) and a French activist Celine (Julie Delpy). In 1995, they met on a train; in 2004, they fell in love; and here they as parents and a couple face head on and bite into each other over the hurdles and sacrifices of love and commitment. That they do this while vacationing in splendid Greece is called on even by the couple, as they also comment on the prior films as books as pretentious talkers. The film is all talk, loving and harsh, with actual adults using adult words about the things that matter -– career wars, regretted missed moments of parenting –- and it’s a sad commentary that such a film is rare. The dialogue pulsates as if every man and woman on screen barely knows what they will say next. Electric. Delpy, Hawke, and director Richard Linklater have collaborated on all three films, creating a treasured trilogy of films about all of us. Amazing. A

Explorers (1985)

Not sure how I missed “Explorers” upon its release at the height of adventure films starring children, with “Goonies” reigning as king. Joe Dante (“Gremlins”) directs this fantasy about three boys (Ethan Hawke, River Phoenix, and Jason Presson) who create a fantastical bubble that allows them to fly across town and out into space where an alien race awaits. How? Don’t ask. Just dig on the old Atari-level VFX by Industrial Light and Magic. Dante hones in on all things junior high in the “Star Wars”-and NASA-fueled 1985, and it’s a grand memory. Strangely, “Explorers” drags once the trio make first contact, pop culture jokes and finger-wagging lessons repeated ad nauseam. The film could have lost 30 minutes or been made into an episode of “Amazing Stories.” Two hours? No. Presson – who!?! – impresses far beyond Hawke (“Training Day”) and Phoenix (RIP). Watch J.J. Abrams’ “Super 8.” The boy there echoes Presson’s look and character, with an attitude that jumps off the screen. Loved the Charles M. Jones Junior High School joke. “What’s up, Doc?” B-

Daybreakers (2010)

In “Daybreakers,” Ethan Hawke gets the starring role he’s been destined for since “Reality Bites.” He plays a vampire. It just fits. Dude has looked as pale as a corpse for ever and a year. In this alternate future, vampires rule the government, business sector and military. Humans are on top of both the endangered species list and the daily menu. Hawke’s vamp’s heart beats (well, not really) for humans though, and he uses his mad science skills to help. Directed by some guys named the Spierig Brothers, “Daybreakers” is a brief, bloody and intriguing film that plays games with technology. How would a vampire drive during the day? The film gets sorry-ass lost amid a vampire cure plot, obvious riffs on the “Matrix” and a climax that sadly ditches logic for cold-cuts carnage. But it’s never less than entertaining. I actually dug this flick in these dark days of sappy teen soaps that bite ass, not neck. Quick thought: What the heck is it with these brother director teams? Are there any sister director teams out there? B-

Before the Devil Knows You're Dead (2007)

Philip Seymour Hoffman and Ethan Hawke tear up some serious screen as brothers caught up in a crime gone wrong in "Before the Devil Knows You're Dead." This is a damn good film from director Sidney Lumet, the towering, 80-year-old director of the classics "Network" and "Dog Day Afternoon." This isn't nearly as great as those touchstones, but few films are.

Hoffman is Andy, a higher-up accountant deep in debt and drugs and a bad marriage; Hawke is Hank, who's deep in misery, self-pity, a bad job and an ex-wife from hell. Andy pushes Hank into a robbery scheme to get $$$. The hitch: They'll rob their parents' jewelry store. Bad things happen.

Hoffman plows depths of pent-up anger, Hawke has never looked so wounded, and Albert Finney as the father is a god. The film has some sore spots, notably Andy's wife (Marisa Tomei), who's sleeping with Hank. It's an unneeded "man is this family wacky or what?!" subplot. Also, it never occurs to the brothers that police always look at family first in just about every crime? Ugh. Still, this is an actor's film, and on that level it doesn't disappoint. B