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!

Second day of the Hololive 2nd fes. Beyond the Stage which was a live concert held by Hololive Production on December 21-22, 2020 online, featuring all members of Hololive 0th Generation, Hololive 1st Generation, Hololive 2nd Generation, Hololive 3rd Generation, and Hololive 4th Generation. This was the second concert for Hololive, and 28 artists performed a total of 50 songs in two days.
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!
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.
Nightbooks, the newest entry in children's horror, honors classic horror films, focuses on themes of acceptance, and has awesome production design.
The film centers around two young women, Becca and Sam, who were once high school sweethearts until they reconnect in their town.
'Legally Blonde' remains a standard of feminist filmmaking over two decades after its release, although its poor treatment of racial and sexual minorities make it a product of its time.
Overall, “Dark Fate” is a run-of-the-mill flick. Together, Reyes and Davis have excellent chemistry, but their characters’ story is nothing new, lacking surprise and deep emotion. During the middle points, the film drags considerably, and when the action hits, it feels consistently tight, eliminating the rhythm and fluidity of conflicts.