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You can skip movies 10 times but never go back.
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…
Carpenter's fascination with group adventures and siege movies has fed through his entire filmography - culminating in the vastly underrated Ghosts of Mars - but Assault on Precinct 13 is the original Hawksian blueprint distilled and revamped. It's a credit to Carpenter and the cast and crew involved that the entire experience feels effortless in spite of how meticulous the construction is. There's incredible character work, a defined time and place (Carpenter's score helps considerably), dedicated moments of tension, explosive set-pieces of violence and horror; and it's all in the course of 90 fucking minutes. Truly spellbinding exploitation, transforming human faces into modern zombies and introducing wave after wave within stark widescreen frames. Can't wait to make a double feature with this and Green Room, if only to observe the influential power of Carpenter's work to this very day.
I know that J. Carp really wanted to make a western and this was his ode to the genre he loves, but I also love that Assault on Precinct 13 is basically Night of the Living Dead in a police station instead of a farmhouse, with menacing gang members with murky motives coming in through the windows and doors in place of zombies, the protagonists trapped inside discuss whether or not they should go to the attic or the basement of the building, taking refuge downstairs, and Ethan Bishop is basically Ben, with Julie [Nancy Loomis] as the hysterical Barbara.
As a side note: It's such a beautiful film that it is a must-own on blu-ray, I just wish that Shout Factory could sort out their issues with the orange/brown/blue coloring, I'm no blu-ray expert, but I noticed that those colors looked off on the Scream Factory release of Phantom of the Paradise as well. Anyone else notice this?
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…
The filthy synth intro to this film is like Carpenter’s mating call, if you’re not turned on by it, you’re obviously the wrong species. I don’t want to oversell this film, but it’s clearly one of mankind’s greatest achievements.
Wanted to put this on while I was doing homework,
now it's almost midnight and I have a book report due tomorrow that I haven't started yet
Madre mía la que lía Eduardo Inda.
Film #2 of CarpenterQuest!
Man, Carpenter was making '80s flicks four years early!
I'm pretty sure that Steven Spielberg and John Carpenter singlehandedly gave birth to '80s cinema!
Assault on Precinct 13 is an intense action thriller with a lot of suspense, a lot of gunfire, and a lot of synth, FUCK YEAH! It's an intense police stand-off with a group of ruthless L.A. thugs that plays out a lot like they're surviving a zombie apocalypse, Night of the Living Dickheads! And HOLY SHIT, THEY SHOT BOB ROSS!
The characters are fun, there's a lot of great one-liners, it's got Tony Burton, and that awesome synth, it's everything you want from an '80s thriller without it being an '80s…
The action/thriller elements all work pretty marvelously (some of those scenes are masterpieces), but this is the first time I've ever gotten tired of all the macho shit in a Carpenter film.
It's old but I love it! Austin Stoker for life!
First action movie I ever saw where bullets make no noise, no one yells when gets shot at, and bad guys don't have verbal diarrhoea (actually they say nothing at all).
The rhythm goes up veeeeery slowly, and it's good, so you can enjoy some breathing between assault and assault and enjoy phrases like
-In the meantime, I got this plan. It's called "Save Ass"-, or two convicts playing potato.
Usually Carpenter movies have one or maybe two "Carpenter characters", the badass type, with clever one liners, that gives between zero and minus 3 shits in any itchy situation, and can keep it's cool to the max (Jack Burton, MacReady, Nada and Frank, Plissken... )
In Assault, we start with…
"A white hot night of hate", it sure is, as John Carpenter turns the precinct into a relentless place of animosity.
Like an influence of Rio Bravo (which is also harboured at a besieged police station), Carpenter has cleverly used the western template and turned that into a dynamic crime film.
For instance, the opening scene is thrillingly kicked off with racial tension as six gang members of Street Thunder are gunned down by cops. From then on, what essentially unfolds—is a series of menacing threads which lead up to the showdown at Precinct 13.
I loved how Carpenter would track the minutiae of each subplot. He builds it all with simmering suspense in broad daylight (seen by pivotal timeline…
Πολύ ωραία ταινία "πολιορκίας" (παραλλαγή του Rio Bravo) γυρισμένη με τη μαεστρία του John Carpenter. Μία συμμορία κακοποιών πολιορκεί για να πάρει εκδίκηση ένα μικρό απομονωμένο αστυνομικό τμήμα και οι υπερασπιστές του (αστυνομικοί και κρατούμενοι!) αμύνονται σθεναρά.
If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…
Figured this is how I'm going to make a general comeback towards the Letterboxd community. For those who've written a…