As I write, in part, “As H. Rap Brown once famously observed, ‘violence is as American as cherry pie,’ and James DeMonaco’s The Purge (2013) offers ample proof of this fact. You want to take it simply as a thriller – fine. But there’s much more on offer here than genre filmmaking. The Purge is seriously thought out, precise in its inverted logic, and taps in neatly to the current trends of endless outbursts of violence, grotesque displays of consumption, and the stratification of society as a whole.
DeMonaco, who previously helmed the indifferent remake of John Carpenter’s superb 1976 thriller Assault on Precinct 13 (2005), here returns to much the same story, but with considerably greater success: a group of people are holed up in an insolated location, giving shelter to a complete stranger, while a band of well armed, murderous hooligans tries to break in and kill everyone. This is his breakthrough film, and he squeezes every last drop of irony and withering social criticism out of it.”