SummaryTo survive the night, cops and criminals alike will have to unite and fight. A classic head-to-head showdown ignites in this all-new update of the 1976 action thriller of the same name. (Rogue Pictures)
SummaryTo survive the night, cops and criminals alike will have to unite and fight. A classic head-to-head showdown ignites in this all-new update of the 1976 action thriller of the same name. (Rogue Pictures)
Matches a dingy urban setting with a compelling situation and throws in an ensemble of interesting characters who become even more interesting under stress. This emphasis on character -- in a sense, the movie's underlying humanity -- is what especially links it to the 1970s.
The movie is not original but he's still watchable.Ethan Hawke is not at his best but he delivers the best performance with **** strong element of the movie is the atmosphere but,unfortunately, the director of the movie can't make us feel the atmosphere of the **** movie is predictable but there is a twist who is better than the entire movie.
It looked quite nice. The snow looked good. There was nothing that exciting and nothing wrong with the looks. The sound was fine. It was unnoticeable and that is fine. The story was quite good and suitably different to the original but I thought that the execution was a little dull. There was just no suspense. It wasn't scary thinking that there was this unstoppable army trying to kill you like in the first one. It was just lacking anything exciting. It lacked the claustrophobia and suspense of the original. It was just another thriller.
Assault on Precinct 13: 3/10: Let us forget for a moment that Assault on Precinct 13 is a remake of a classic action movie. Taken completely on its own merits Assault is a debacle.
Lets start with the Rio Bravo style scenario. About a dozen people are trapped in a decaying police station in Detroit (If the Detroit location is giving you Robocop warm and fuzzies stop right now. It could have easily said Topeka in the opening credits and nothing would have changed. In fact the last bit in the forest would have made more sense.) Surrounding them are our bad guys; corrupt cops.
Now I know what your thinking. Corrupt cops? Were the **** and drug cartels busy that weekend? Of course these are no ordinary cops. These guys are right of the cover of the latest Tom Clancy video game. Yup we have body armor; helicopters; laser sights; night vision goggles the works. So we have thirty S.W.A.T. members/Special Forces armed to the teeth verses 4 cops (drunk mind you it's new years eve), 2 girls in party dresses and half a dozen criminals.
So how do our heroes defend themselves? Truth is they can't. They all should be dead within ten minutes tops. (Not to mention the characters inside have an annoying habit of walking past the windows.) Now an illogical scenario is no reason to completely pan a movie esp. a B style action film. However with the exception of Laurence Fishburne and Ethan Hawke all the other characters seemed to be comic relief. (At least I hope they were)
While Ja-Rules and Leguizamo's characters are bad enough. It's Aisha Hind's minstrel show that takes the cake. Rarely has a more stereotypical African American character appeared on the modern screen. Her performance resembles a frat boy in blackface and drag acting ghetto.
In the original Assault a gang member takes over an Ice-Cream truck and drives around the neighborhood shooting little girls in the head. I have had an irrational fear of ice-cream trucks ever since. After this Assault I have a perfectly rational fear of remakes.
Il s'agit d'un remake du fameux Assaut de John Carpenter qui remonte à... 1976 ! Passablement remis au goût du jour, le film de notre national Jean-François Richet ne supporte malheureusement pas du tout la comparaison avec le vieux de la vieille ! et cela, malgré des moyens évidemment très supérieurs !
Le scénario tente de creuser ses personnages mais s'enlise lamentalement dans la psychologie de comptoir à deux balles, à peine digne d'un mauvais feuilleton télé. Si la distribution surprend agréablement avec quelques têtes d'affiche, Ethan Hawke et Laurence Fishburne sont laissés sans direction et pédalent dans la semoule. Quant à Gabriel Byrne, c'est le minimum syndical à peine assuré...
Le pire est sans doute cette mauvaise idée de confier l'assaut proprement dit à des flics surentraînés et suréquipés qui devraient torcher ce commissariat en moins de deux mais qui sont tellement cons qu'ils se font descendre comme des lapins : oui, c'est totalement incohérent. On a bien sûr quelques différences avec le film original mais qui sont autant de raccourcis qui laissent pantois d'incrédulité.
La réalisation est dans l'ensemble correcte mais sans plus... Cela dit, je n'ai pas tenu jusqu'à la fin, c'était tellement débile que je n'ai pas pu le finir, un peu comme un gâteau industriel en sachet Ecoprix...
The only scene worth a damn in this ghastly remake is the very opening one, featuring Ethan Hawke close to his best. However, as the film drags along you will slowly be treated to an increasingly hopeless array of actors (including the wonderful anti-talents Ja Rule and John Leguizamo) who blather non-stop about things neither relevant nor interesting. For some reason plans that would be obvious to any airhead trapped in the protagonists' position are called 'smart moves' by Byrne (who is barely given anything else to say or do). Dennehy utilises his talents in saying 'those are Bishop's men' constantly. A pointless romantic sideplot is brought up and dropped along with an equally pointless drug addiction sideplot. Also, it seems like the movie was recorded with no director of photography, as almost the ENTIRE film is completely shot in varying shades of blue and black, with some of the absolute shoddiest camera work this side of a 'found-footage' picture. Often action scenes will be incomprehensible due to unnecessary close-ups and shaky movement, and other times it will be so dark that it is impossible to see. With so much wrong with Assault on Precinct 13, it's a mystery how it was even considered to be worth people's money. There is no reason to watch this.