Ranking The Purge Films from Worst to Best
Ranking The Purge films gives us one forgettable film, two mid-tier movies, and two horror masterpieces. This list can help you decide which films to watch first!

Brody, his girlfriend Kerry and their friend Leo go hiking in Dartmoor. That night jealousies, sexual tensions and strained relationships come to a head turning what should have been a peaceful camping adventure into a trip to terror. As collective paranoia reaches fever pitch it becomes clear that there is a much darker force at work in the ancient eerie surroundings. Who or what is after them? And can any one of them survive a night in the woods?
Ranking The Purge films gives us one forgettable film, two mid-tier movies, and two horror masterpieces. This list can help you decide which films to watch first!
This live-action Barbie movie brings strong feminism and topics about blondes.
Darren Aronofsky’s Caught Stealing is a gritty, darkly funny thrill ride through 1998 New York, with Austin Butler delivering a raw, magnetic turn as Hank Thompson—a washed-up ex-ballplayer turned bartender whose life implodes after cat-sitting for his punk neighbor drags him into a violent underworld of gangsters, crooked cops, and chaos. Brutal yet unexpectedly hilarious, the film blends noir grit with midnight-movie absurdity, proving Aronofsky can reinvent himself while Butler cements his status as a true movie star.
Let it Snow in a nutshell, is a warmhearted coming of age teen Christmas movie.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
'An American Werewolf in London' possesses a possible queer reading in the way it envisions a heterosexual romance being undone by the presence of a creature who embodies self-contentment in the face of social alienation.