Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
Assault on Precinct 13
L.A.'s deadliest street gang just declared war on the cops.
The lone inhabitants of an abandoned police station are under attack by the overwhelming numbers of a seemingly unstoppable street gang.
John Carpenter is the best director of all time.
An interracial gang wages an all-out assault on a police station. In their way is a street smart cop, a hottie with a nice rack, and a con who really wants a smoke. A blood-oath. An ice cream truck. A Real Housewife of Beverly Hills's last scoop of vanilla. A father's swift justice with a twist. Being marked for death by Che and the gang. A dispatcher's last call. A save-ass plan. A game of hot potato seals Snow White's fate. Backseat peek-a-boo. Having to wing it. Not arguing with a confident man. The ultimate last stand. Wilson finally gets that smoke. Carpenter's Mona Lisa.
A dynamic blend of kinetic direction, relentless action & energetic performances, Assault on Precinct 13 is a severely underrated action thriller that grabs the viewers' attention from its opening moments & never lets go until the very end. Written, directed, edited & scored by John Carpenter, it is one of the finest works of his career & arguably the most transparent reflection of this director's filmmaking style.
Set in a crime-infested ghetto in South Central Los Angeles, Assault on Precinct 13 covers a series of events taking place within the same day & begins with covering three plot lines which later merge into one. On a superficial level, it tells the story of a police officer who, with the help of convicted prisoners, defends a…
Part of my:
Look at that, two cops wishing me luck. I'm doomed.
It's obvious from looking at this film that even at this point in his career Carpenter had some sort of obsession with the mechanics of the old westerns. A strange mix of Rio Bravo and Night of the Living Dead, this low-budget exploitation flick is a shining example of Carpenter's style. A group of heroes against an overwhelming force set to an empty and enigmatic background is an outline that can fit into a hell of a lot of his films, and yet, none of them are exactly alike. Comparing Assault on Precinct 13 to Ghosts of Mars (which was made 25 years…
Dun dun-dun-dun-dun. Dun dun-dun-dun-dun. Dun dun-dun-dun-dun.
I always seem to forget just how catchy that theme tune is. In fact, I think out of all the John Carpenter themes (and soundtracks, for that matter) the one for Assault On Precinct 13 is my favourite. It's also a soundtrack that does for the atmosphere of this film at its key moments the kind of job that ALL soundtracks are supposed to do.
In fact, as I was commenting to my wife last night, when I first saw Assault On Precinct 13 as a 13 year old as part of a Moviedrome series I actually recognised the theme tune even though I had definitely never seen the film before. Not sure where…
This films follows the story of a police station which is about to be disabled and is the target of an assault by an unstoppable gang. Assault on Precinct 13 has the perfect amount of blood and cheese, there's nothing like a good John Carpenter film to keep you entertained. For its budget, I think that this film has survived very well due to its badass simplicity. John Carpenter balanced his second film very well, a simple story capable of sticking everyone to the screen, which was very well conducted due to the perfect amount of cool and strangely interesting characters. It's very important to underline the superb eletronic and minimalist score composed by Carpenter himself. The montage, editing, framework…
Projected from DVD with Zack on a humid, sweaty night. Rigorous lovemaking later that night blah blah intersection of sex & violence blah kinetic inspiration blah.
Best film ever made.
Nice soundtrack... But nothing more.
Wiry, mean and lean, John Carpenter's film makes its' deceptively simple concept completely convincing. Western archetypes are effortlessly translated into the modern world to put some meat on the bones of the script and some clever use of a small budget rounds out an excellent slice of action cinema.
Further evidence that John Capenter is a master writer/director/composer. It starts vague with a wide scope of many character whose paths will eventually converge at the titular precinct (which is actually Precinct 9, Division 13, but who's counting). It's a nice and neat 91 minutes. Good performances from Austin Stoker and Carpenter's then next-door neighbor Darwin Joston (aka Paul from Eraserhead).
Re-watching this one before it leaves Netflix. Maybe my favorite Carpenter---Rio Bravo meets Night of the Living Dead. Strong performances and a well-written script. That haunting title theme that sticks in your head. And that scene with the little girl and the ice cream truck- damn.
John Carpenter's second film establishes him as a low-budget badass, a master of the wide screen and a filmmaker who's not above killing a cute little kid to make his villains extra nasty. He passes, with an A+ grade, The Great B-Movie Test, which is to make a real nail-biter in a cost-effective setting with few effects and a cast with no stars. Keep it simple and keep us on the edge of our seat. That's all we really want. Carpenter keeps Assault on Precinct 13 so simple that it's never tied down to a time or place. It could be rewritten with ease to qualify as a whole other genre. We call it a crime movie or an action…
Lets split this movie in half.
The first half is an incredible 4.5 star masterpiece of humanizing characterization, interesting premises, shocking and uncompromising shots, and incredible tension. The second half is well made, but the script devolves into quippery at some point and the tension unfortunately plateaus. It's still mature and well-crafted film, but it loses steam and I would rate the last half 2.5 stars.
Splitting the difference would give this film 4 stars but I am a man who cares about endings. The majority of my favorite film's strongest points are their endings. So that flat ending drags my opinion of this film further down than it would for most people, Id bet.
Also BOY does this movie oversell silencers.