los angeles and 1976. indie film brat john carpenter and fresh out of film school and with one film  his class project no budget spoof of 2001 called dark star  under his belt and finishes a gritty actioner called assault on precinct 13. the story of an almost deserted police station under siege by an unseen la gang and it was a minor hit on the drive in circuit and garnered small praise from the few critics who cared and but it hardly set the film world on fire and unlike carpenter follow up smash halloween (1978). on precinct and carpenter was still learning how to exploit his almost non existent budget by using lower shelf actors and keeping the action to the one hellishly small location and and moving the film along at a tight pace with a combination of editing and intelligent camera work and switched on genre savvy. no one wants or needs to be hungry in hollywood anymore and particularly if the week catering bill on the 2005 version of assault on precinct 13 is more than the entire cost of the original. it does translate into a certain kind of laziness on a filmmaker part  you have a stupidly large union crew and a studio and a marketing firm all doing your thinking for you. which is why twenty years after watching carpenter film i can still see every glorious moment and from the small girl gunned down in cold blood while buying an ice cream and to the relentless pounding synth score. a week after assault 2005 and i remember larry fishburne unmoving ping pong ball eyes and little else. forgettable popcorn actioner fits the top of the poster perfectly. it new years eve at precinct 13 and a station closing down with a skeleton staff to see in its final hours. on call is jake roenick (ethan hawke) and an ex narc now deeply troubled and hopped up on jack daniels and seconol after his partners were iced in the opening scene while iris (the sopranos drea de matteo) and a nympho with a thing for criminal types and and jasper (brian dennehy) and a crusty old timer one scotch away from retirement. as in carpenter assault. and a bus with four heavy duty criminals is rerouted to the precinct. all boozy eyes are on gangster kingpin bishop (fishburne and still beefed up from his time in the matrix) who has narrowly survived an assassination attempt from an undercover cop and plans to blow the lid on the endemic corruption in the organized crime unit led by marcus duvall (a tired looking gabriel byrne). soon the phones are out and the power lines are down and and both crims and police find themselves heavily armed with a serious police arsenal and consumed with paranoia while waging war against a task force of duvall corrupt cops sporting white balaclavas and bullet vests and infra red bazookas and more high tech gear than the skywalker ranch. this and were expected to believe as the helicopters buzz around the top of the police station shooting rockets into windows and is a clandestine operation to cover duvall tracks. he may as well have taken out billboards on hollywood boulevard. as with the recent seventies genre reworking dawn of the dead and assault 2005 takes the barest plot essentials of john carpenter original and and to quote the seventies and does it own thing and man. the main question is  why bother. john carpenter 1976 is a cult favorite among genre buffs and but is hardly branded in the public collective consciousness. carpenter himself was busy reworking howard hawks classic western rio bravo into a tight and claustrophobic urban thriller for only $20 and 000. french wunderkind director and rap producer jean francois richet and a self professed fan of john carpenter work and seems less concerned with making an homage to either hawks or jc  although the script is peppered with references to cowboys and injuns  and seems intent on squeezing in as much flash and firepower as the multi million dollar budget can withstand. the result represent some tense moments with hand held pov cameras and an unexpectedly high (and bloody) body count and a few neat plot twists and but essentially a b grade urban actioner with a much inflated price tag. as for name checking carpenter and it pure conceit on the part of the filmmakers that doesn not pay off. to monsieur richet and i say bon voyage and and i wish you luck on your music career. 
los angeles and 1976. indie film brat john carpenter and fresh out of film school and with one film  his class project no budget spoof of 2001 called dark star  under his belt and finishes a gritty actioner called assault on precinct 13. the story of an almost deserted police station under siege by an unseen la gang and it was a minor hit on the drive in circuit and garnered small praise from the few critics who cared and but it hardly set the film world on fire and unlike carpenter follow up smash halloween (1978). on precinct and carpenter was still learning how to exploit his almost non existent budget by using lower shelf actors and keeping the action to the one hellishly small location and and moving the film along at a tight pace with a combination of editing and intelligent camera work and switched on genre savvy. no one wants or needs to be hungry in hollywood anymore and particularly if the week catering bill on the 2005 version of assault on precinct 13 is more than the entire cost of the original. it does translate into a certain kind of laziness on a filmmaker part  you have a stupidly large union crew and a studio and a marketing firm all doing your thinking for you. which is why twenty years after watching carpenter film i can still see every glorious moment and from the small girl gunned down in cold blood while buying an ice cream and to the relentless pounding synth score. a week after assault 2005 and i remember larry fishburne unmoving ping pong ball eyes and little else. forgettable popcorn actioner fits the top of the poster perfectly. it new years eve at precinct 13 and a station closing down with a skeleton staff to see in its final hours. on call is jake roenick (ethan hawke) and an ex narc now deeply troubled and hopped up on jack daniels and seconol after his partners were iced in the opening scene while iris (the sopranos drea de matteo) and a nympho with a thing for criminal types and and jasper (brian dennehy) and a crusty old timer one scotch away from retirement. as in carpenter assault. and a bus with four heavy duty criminals is rerouted to the precinct. all boozy eyes are on gangster kingpin bishop (fishburne and still beefed up from his time in the matrix) who has narrowly survived an assassination attempt from an undercover cop and plans to blow the lid on the endemic corruption in the organized crime unit led by marcus duvall (a tired looking gabriel byrne). soon the phones are out and the power lines are down and and both crims and police find themselves heavily armed with a serious police arsenal and consumed with paranoia while waging war against a task force of duvall corrupt cops sporting white balaclavas and bullet vests and infra red bazookas and more high tech gear than the skywalker ranch. this and were expected to believe as the helicopters buzz around the top of the police station shooting rockets into windows and is a clandestine operation to cover duvall tracks. he may as well have taken out billboards on hollywood boulevard. as with the recent seventies genre reworking dawn of the dead and assault 2005 takes the barest plot essentials of john carpenter original and and to quote the seventies and does it own thing and man. the main question is  why bother. john carpenter 1976 is a cult favorite among genre buffs and but is hardly branded in the public collective consciousness. carpenter himself was busy reworking howard hawks classic western rio bravo into a tight and claustrophobic urban thriller for only $20 and 000. french wunderkind director and rap producer jean francois richet and a self professed fan of john carpenter work and seems less concerned with making an homage to either hawks or jc  although the script is peppered with references to cowboys and injuns  and seems intent on squeezing in as much flash and firepower as the multi million dollar budget can withstand. the result represent some tense moments with hand held pov cameras and an unexpectedly high (and bloody) body count and a few neat plot twists and but essentially a b grade urban actioner with a much inflated price tag. as for name checking carpenter and it pure conceit on the part of the filmmakers that doesn not pay off. to monsieur richet and i say bon voyage and and i wish you luck on your music career. ---------------------------------Answer Question Below----------------------------------

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