Jean-François Richet
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…advance marketing for the film included a mock-up of a well-known poster for Bruce Willis’s first outing as John McClane in 1988’s classic Die Hard…
I think audiences could have been trusted to draw paralells with Die Hard even without a metal-framed zippo being used as a light source in a ventilation shaft.
“Mutiny” isn’t actually “Die Hard” on a boat (that’s “Under Siege”), but—in a kind of clever reversal that’s woefully underdeveloped—it’s a reverse “Die Hard” on a boat, where the stowaway taking out the crew is the good guy.
“Mutiny,” a “Die Hard” on a boat movie with another name, is basic to a fault.
Statham’s back-to-basics, Die Hard on a container ship called out to me…
…his latest, Mutiny, is a Die Hard on a human-trafficking-trawler that arrives nearly forty years after the original template was fresh…
…speaking of 80s and 90s thrillers, I was getting lots of UNDER SIEGE vibes…
“Mutiny” isn’t actually “Die Hard” on a boat (that’s “Under Siege”), but—in a kind of clever reversal that’s woefully underdeveloped—it’s a reverse “Die Hard” on a boat, where the stowaway taking out the crew is the good guy.
While it isn’t the first “Die Hard on a Boat” movie (that would be Under Siege), Mutiny works that formula with brisk economy.
It's no Under Siege, the original aquatic action bonanza, which overcame Steven Seagal's acting limitations with its memorable script.
…como excusa para 'remakear' 'Alerta máxima' (A. Davis, 1992)…
Die-Hard-in-a-boat scenarios like Under Siege…
This formula would prove so resilient that Hawks would remake it in " El Dorado " (1966), John Carpenter would remake it as " Assault on Precinct 13 " (1976) and directors from Scorsese to Tarantino to Stone would directly reference it.
The new, two-disc set comes with a commentary track by critic Richard Schickel (who wrongly calls this Hawks' "last great" film) and filmmaker John Carpenter (who unofficially remade Rio Bravo twice, as Assault on Precinct 13 and Ghosts of Mars).
Adding a crooked-cops twist to the outnumbered-and-under-siege plot that John Carpenter lifted from "Rio Bravo" for his "original" 1976 B-movie shoot-'em-up, the new "Assault on Precinct 13" is a reasonably entertaining update of a reliable action-drama formula.
In 1976, John Carpenter directed his homage to Howard Hawks’s “Rio Bravo” about a closing police station under siege and pushed a lot of non-PC buttons at the time when he showed a little girl gunned down by a gangster.
Today those times may have well and truly passed, but there is something of a seventies revival going on, filling our screens with ‘reimaginings’ of seventies gems like The Texas Chainsaw Massacre , Dawn of the Dead , The Toolbox Murders , The Stepford Wives , and now Assault on Precinct 13 (or AP13, to give the remake its snappier, oh-so-Noughties title) – except that John Carpenter’s original low-budget siege flick from 1976 was itself a reimagining of Howard Hawks’ 1959 western Rio Bravo, and owed a considerable debt along the way to George A. Romero’s zombie classic Night of the Living Dead (1968), making it a story that really has been told many times before.
It manages to evoke Leone without scanning as mere rip-off — no small feat — while also evoking that pinnacle of cops-under-siege mayhem, Carpenter’s Assault on Precinct 13.
We might have expected something slicker from experienced director Joe Carnahan ( The A-Team, Smokin' Aces , the excellent Narc ); if his latest tantalisingly evokes John Carpenter's mighty Assault On Precinct 13 it doesn't quite deliver.
The setup has clear John Carpenter's "Assault on Precinct 13" vibes, but where that film was lean, mean, and undeniable in its exploitation thriller excellence, "Copshop" is too tonally muddled and frustratingly paced to come close to that film in terms of quality.
Both characters reside in this grey area between good and evil which creates an enigma that keeps the audience guessing plus we’re not really sure who to root for until all hell breaks loose in a tribute to John Carpenter’s “Assault on Precinct 13” and Louder becomes the film’s heroine.
The bulk of the beats feel familiar enough, starting with its riff on John Carpenter’s Assault on Precinct 13 (1976), but Carnahan and his cast do great work making this entirely their own.
Copshop rings that 70s bell of brutal action tied into a simmering thriller, and initially felt as though it was leading into a modern-day take on John Carpenter’s classic, Assault on Precinct 13 .
Resident Evil: Welcome to Raccoon City (2021)
Directed by Johannes Roberts
influenced by Assault on Precinct 13 (2005)
Visuals Plot
Like Anderson’s films, this one takes inspiration from John Carpenter, specifically Escape from New York and Assault on Precinct 13 .
With a police station as one of its central locations, “Welcome to Raccoon City” angles for “Assault on Precinct 13” vibes but falls short of the 2005 remake, to say nothing of the genius of the John Carpenter original.
Writer/director Johannes Roberts has stated in multiple interviews that his main inspiration for Welcome to Raccoon City were the films of John Carpenter, in particular Assault on Precinct 13 , and that influence is clear in the film’s presentation.
The film plays with Carpenter from the claustrophobic heist of Assault on Precinct 13 to the supernatural slow burn of The Fog .
Those John Wick movies and “Mad Max: Fury Road” have gotten us used to choreographic mayhem that raises the bar.
With every scene of him hiding behind corridors, trying not to be caught, the film’s John Wick comparisons dwindle.
From John Wick to Saving Private Ryan, it’s vulnerability that paves the way for epic demonstrations of strength, resolve, and heroism.
Unlike the "John Wick" and "Taken" series or "The Furious," "Mutiny" is representative of how Statham has calibrated his brand of vengeance to be socially conscious and politically as well as personally motivated.
In a post- ”John Wick” world, action films have had to come up with villains that are so inherently evil that the audience will have no reason to root against them…
13 Hours: The Secret Soldiers of Benghazi (2016)
Directed by Michael Bay
influenced by Assault on Precinct 13 (2005)
Visuals Plot
Bay even sets the scene with a flickering caption in a blocky sans-serif computer font, evoking the 1970s and '80s classics of genre directors like John Carpenter, whose Assault on Precinct 13 might well be a specific reference point.
But “13 Hours” is best understood as an action-movie/video game variation on real events, a sort of mash-up of tha attack on the Alamo and John Carpenter’s “Assault on Precinct 13.”
The plot to Bay's "13 Hours" also brings to mind horror director John Carpenter's 1976 siege thriller, "Assault on Precinct 13," albeit with more firepower and much bigger turf to protect from insurgents.
Indeed, the "siege" aspect of the movie borrows from not only Westerns but from such shockers as "Night of the Living Dead" and John Carpenter's scary urban thriller, "Assault on Precinct 13."
…or Liam Neeson with "Taken."
The premise is as satisfying as that of Liam Neeson’s Taken franchise, but with Link’s campaign through the trailer-park badlands of California’s Coachella Valley suggesting an Old West version of Hollywood.
The film, written by Peter Craig (the story comes from his 2006 novel) and Andrea Berloff (World Trade Center, Straight Outta Compton), at times feels like just another variant on the particular action genre that was re-established by Taken in 2008 — we have yet another father forced to rely on his particular set of skills to save his daughter from a nightmare scenario.
The relationship between John and Lydia is at the heart of the film, but there's little of the queasy cuteness and sentimentality of a Luc Besson production such as Taken.
French-produced films about American daddies wanting to protect their female offspring have basically become an unofficial subgenre since the success of the first Taken film, so it’s easy to see why French director Jean-Francois Richet (Mesrine, the decent but not exceptional Assault on Precinct 13 remake) signed up to direct Blood Father.
This propulsive crime picture appropriates the daddy-vengeance model of Taken and replaces the joyless, clinical efficiency with Mel Gibson tearing up the screen in full beardy maniac mode.
The siege as a narrative device runs throughout John Carpenter's work, but nowhere is it as raw and unvarnished as Assault on Precinct 13.
The following year, he wrote, directed, edited, and scored his first solo feature, Assault on Precinct 13, made for $100,000 and on little more than a two week schedule.
Two years before his 1978 breakout hit Halloween, director John Carpenter made a low-budget siege drama called Assault on Precinct 13.
One of the odder but more interesting film programs in the city is the one that opened yesterday at the Thalia: Roberto Rossellini's "Fear," made in 1954, the last of the extraordinary features in which Rossellini directed Ingrid Bergman, who was then his wife; and "Assault on Precinct 13," the 1976 film made by John Carpenter, who later directed the more notorious horror picture, "Halloween."
“Plane” is a too-generic title for what’s actually a pretty good little movie, combining with the ad campaign to convey a sense the film is more “Rambo”-like than it is.
…spectacle that finds a couple of jacked-up English-speaking everymen forced to kill their way out of a sweltering foreign jungle full of indigenous militants, and climaxes with the bad guys loading the shoulder-mounted rocket-launchers that Southeast Asian henchmen always keep on hand in case Sylvester Stallone ever decides to reboot “Rambo” again.
It’s not among the pinnacle of “kill every human trafficker movie” out this year (stream The Furious!)
Arriving in the shadow of the innovative "The Furious," "Mutiny" doesn't attempt to outdo the genre.
When John Carpenter made " Assault on Precinct 13 " early in his career, he demonstrated an invaluable formula to later low-budget generations.
Accordingly, Attack the Block’s premise about an alien invasion and the ensuing siege of a single South London housing estate has umpteen nods to John Carpenter’s Assault on Precinct 13 (1976), Escape from New York (1981) and The Thing (1982), Walter Hill’s The Warriors (1979) and Streets of Fire (1984), Joe Dante’s Gremlins (1984) and the John Sayles-scripted Piranha (1978) and Alligator (1980), with a dash of French cinéma du look (Diva, 1981; Subway, 1985) and a Children’s Film Foundation romp thrown in for good measure.
…other recent Statham vehicles like “Wrath of Man” and “The Beekeeper,”…
Cole could easily be THE BEEKEEPER (sequel’s on its way)…
2024’s The Beekeeper managed to revitalize Jason Statham‘s career and he seems have really struck gold with this “karmic retribution” character.
Recent years have given us his turns as Deckard Shaw and well as The Beekeeper, A Working Man, and Shelter. Those last three are pretty much the same movie, minus the setting and whatever atrocity trigger’s the Stath’s homicidal thirst for vengeance.
…compared to the exuberance of David Ayer’s recent The Beekeeper, which better served the actor’s talent for dramatic understatement and fists-a-flying overstatement…
But when Statham manages to be fierce (“The Beekeeper,” “The Transporter,” “Wrath of Man”)…
Hotel Artemis maintains interest, if not investment, for those predisposed to the urban doom and gloom of films such as Escape from New York, Assault on Precinct 13, John Wick (whose ?“hotel for criminals” concept could have been the spark here), Judge Dredd and, just a theory, 1932’s Grand Hotel.
The whole thing rather reminded me of similar stripped-down thrillers from the ‘70s and ‘80s, films like John Carpenter’s Assault on Precinct 13 and Sam Firstenberg’s Avenging Force, and to my mind this is a giant positive.
Though better than “A Working Man” (2025), “Mutiny” (2026) is a functional, but largely sauceless Jason Statham flick…
Cole could easily be THE BEEKEEPER (sequel’s on its way) or A WORKING MAN seeking SHELTER.
Statham should choose to cover such similar ground to his last movie, A Working Man.
Recent years have given us his turns as Deckard Shaw and well as The Beekeeper, A Working Man, and Shelter. Those last three are pretty much the same movie, minus the setting and whatever atrocity trigger’s the Stath’s homicidal thirst for vengeance.
…it’s not as miserable as A Working Man…
Jean-François Richet’s movie is not a complete dud like A Working Man…
Today those times may have well and truly passed, but there is something of a seventies revival going on, filling our screens with ‘reimaginings’ of seventies gems like The Texas Chainsaw Massacre , Dawn of the Dead , The Toolbox Murders , The Stepford Wives , and now Assault on Precinct 13 (or AP13, to give the remake its snappier, oh-so-Noughties title) – except that John Carpenter’s original low-budget siege flick from 1976 was itself a reimagining of Howard Hawks’ 1959 western Rio Bravo, and owed a considerable debt along the way to George A. Romero’s zombie classic Night of the Living Dead (1968), making it a story that really has been told many times before.
Staged inside an enclosed space for the most part, “Free Fire” is a variation on a theme of John Carpenter’s 1970s-era grind house landmark “Assault on Precinct 13” with a grungy, “Mean Streets,” raw-boned feel and some truly Scorsese-like moments of gang-movie ultra-violence.
It's Assault on Precinct 13 meets the The Thing (Can we count the ways director John Carpenter has influenced genre films today?).
Clearly inspired by the better films of John Carpenter (The Thing, Assault on Precinct 13), 30 Days of Night also draws deep from a pool of influences that includes Richard Matheson's seminal vampire novel I Am Legend, and George Romero's Night of the Living Dead.
Barcelona-born director and film teacher Lluís Quílez has stated that, with his second feature, Below Zero , he has tried to rekindle the spirit of 1970s and 1980s thrillers – titles such as Duel , the debut feature by Steven Spielberg, and Assault on Precinct 13 , helmed by John Carpenter.
…y 'Capitán Phillips' (P. Greengrass, 2013)…
Paul Greengrass’ Captain Phillips wrung relentless suspense out of a similar setup while remaining within the confines of a true story.