We Read Every Review of The New ‘Purge’ Movie So You Didn’t Have To. Here’s The Verdict…

There’s one day out of the year where crime does not exist. We learned of this sick holiday about a year ago when The Purge was introduced to theaters. With efforts of minimizing crime rates throughout the year there’s one day allotted for infinite crime without punishment, but have no worries it’s just a movie—not real life.

Of course, with any good film comes a sequel. Today James DeMonaco brought back The Purge with a twist; Anarchy. A couple’s driving home to their kids and all of a sudden their car stops. As the couple effortlessly tries to start their car, not realizing it’s run out of gas, the Purge commences. Meanwhile, a police sergeant goes out into the streets to get revenge on the man who killed his son, and a mother and daughter run from their home after assailants destroy it. The five people meet up as they attempt to survive the night in Los Angeles. *insert dramatic theme music here*

If you’re into scary-action movies I’m thinking this is your best bet. If not, maybe sticking to Mood Indigo might be best for you. Check out the reviews below to help make your final decision and if you’re thinking about going tweet me, I’d love to join.

The New York Times: “Kill or be killed isn’t the official tag line of The Purge: Anarchy, but it fits. It would also make a more suitable title for this satisfyingly creepy, blunt, down-and-dirty thriller, one of those follow-ups that improves on the original.”

Chicago Sun-Times: “In The Purge: Anarchy, unfortunately, grim and brutal is pretty much all we get.”

Los Angeles Times: “The Purge: Anarchy is a good deal bloodier, but also — gulp — a good deal better than its predecessor. Make no mistake, a good “Purge” does not equal a good movie, but the post-apocalyptic thriller is slightly more interesting because it takes itself, and its menace, more seriously.”

Boston Globe: “Give credit to writer-director James DeMonaco for at least attempting to give his action thriller some heft with a plot that concerns our obsession with violence, ham-fisted as it is. But The Purge: Anarchy is still just an excuse to bombard us with high-powered weaponry, armored vehicles, vigilantes, and masked marauders in creepy Joker-like makeup.”

Washington Post: “The film defies one of the fundamental rules of capitalism: Exploitation of the proletariat may be well and good, but don’t execute them all. At the same time, “The Purge: Anarchy” obeys a cardinal law of Hollywood: Shoot first and ask questions later.”

Forbes: “The Purge: Anarchy is a major improvement over the first film, truly expanding its world and using its premise as a mirror to our own insane society.”

Rolling Stone: “What if a family member hears a stranger (Edwin Hodge) screaming outside, and lets him in just before the gates lock shut? What if your neighbors, some wearing masks, have a blood lust to get him? For starters, that’s a lot of “what ifs.” Hawke is strong and subtle at delineating the war inside Sandin’s head. And director James DeMonaco shows a sure hand at building tension. Too bad the film devolves into a series of home-invasion clichés.The Purge was almost on to something.”

New York Daily News: “The film’s “What if?” scenario takes the germ of an interesting social-science idea and lets it rot in a nasty, ethically questionable cesspool of junk cinema.”

The Hollywood Reporter: “The Purge: Anarchy efficiently exploits its high-concept premise while delivering far more visceral thrills than its predecessor.”

USA Today: “The film is at its best when it focuses on the more specific conflicts of five people thrown together on Purge night.

Variety: “For all the philosophical and metaphorical shortcomings of his script, however, DeMonaco is an efficient orchestrator of action.”

Slant Magazine: “DeMonaco may doubly, sometimes triply, underline the story’s governing theme of social power and how it’s exchanged, but the rage and lucidity of these ideas resonate.” “The Purge: Anarchy expands on its predecessor, but the excellent news is that the sequel isn’t just bigger and badder and bleaker; it’s also better, smarter, stranger and tougher.”

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