Jean-François Richet
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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 .
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."
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.
Mel Gibson reclaims his action hero mojo in Mesrine director Jean-François Richet's slick pulp thriller, even if it does feel like a trashier carbon copy of Liam Neeson's Taken.
Assault on Precinct 13 (1976)
Directed by John Carpenter
influenced Assault on Precinct 13 (2005)
Plot
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.
Joseph Kaufman, executive producer of Carpenter's thoroughly-modern western Assault on Precinct 13, wrote in a 1994 essay: “People have noticed that both Rio Bravo and Assault on Precinct 13 take place in besieged and isolated police stations, and that moral codes of behavior are important in the two films.”
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.
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.
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.
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.
The Strangers: Prey at Night (2018)
Directed by Johannes Roberts
influenced by Assault on Precinct 13 (2005)
Music
Adrian Johnston’s ( I Am Not a Serial Killer ) electronic score, reminiscent of John Carpenter’s classic compositions for Assault on Precinct 13 and Escape from New York , is terrific, but it is also frequently undercut by a number of 1980s pop songs, the film oddly inserting them at a number of inopportune moments diluting the inherent tension of the situation substantially.
John Carpenter's "Assault on Precinct 13," Sidney Lumet's "Dog Day Afternoon," and especially Martin Scorsese's "After Hours" perfected the art of throwing every possible obstacle they could think of at their heroes, putting them through the wringer over the course of a single endless day or night.
The British shocker F is inspired, its accomplished writer-director says, by John Carpenter, especially his Assault on Precinct 13 , and is a transposition to Britain of one of those 1970s horror flicks about unseen avengers terrorising American high schools.
An extended mano a mano between Butler and a goon, filmed in a single unbroken take, is a highlight of the film, and reminiscent of the final scuffle between Leonardo Dicaprio and Tom Hardy in The Revenant.
"The Raid" ends up mixing classic John Woo-style action with the tense siege atmosphere of John Carpenter's "Assault on Precinct 13."
A throwback to the type of stripped-down thriller that might have attracted John Carpenter before the "Assault on Precinct 13" director lost his mojo, the English-subtitled "The Raid" is probably the purest action movie to reach a Memphis theater since Thailand's "Ong-Bak" in 2005.
It's subtitled with an Asian cast, directed by Welshman Gareth Evans, who went to film school in the U.K. The fighting styles are strictly Eastern, but the movie's DNA has the feel of a Hollywood B-movie - Assault on Precinct 13 (the John Carpenter original) has been cited as an influence, and that seems about right.
The clearest influence on “Cold in July” is John Carpenter — in addition to the “Assault on Precinct 13” style plot, there’s an ominous synth-heavy score that screams Carpenter.
Channeling John Carpenter (Assault on Precinct 13) and David Cronenberg (A History of Violence), director Jim Mickle expertly builds nerve-shattering tension into Cold in July.
The Purge: Anarchy (2014)
Directed by James DeMonaco
influenced by Assault on Precinct 13 (2005)
Plot
In it DeMonaco appeared to be attempting to mimic the enclosed-space tension that the young John Carpenter pulled off so brilliantly in “Assault on Precinct 13” (the pretty good 2005 remake of which was scripted by DeMonaco and also starred Hawke); and while he didn’t match his model, at least the effort showed promise.
If the first Purge played like a variation on Carpenter’s Assault on Precinct 13, the second episode (directed by the writer of the tolerable 2005 remake of that siege film) comes across like a tribute to the Carpenter’s Escape from New York.
“The Purge: Anarchy” is much more action-oriented than its predecessor, less concerned with building suspense than watching its would-be victims fight off a never-ending onslaught of crazies, and in that respect, it’s very reminiscent of cult films like “The Warriors” and “Assault on Precinct 13.” Curiously, writer/director James DeMonaco penned the screenplay for the 2005 remake of the latter, so he’s clearly a fan of those kinds of movies, and it shows in this open-world sequel that expands upon the idea introduced in the first film.
For those of you who didn’t feel foolish about spending your money to see “The Purge,” a surprise 2013 hit that sounded like a new diet fad, from knockoff specialist James DeMonaco (“Assault on Precinct 13”), feel free to throw more money away watching “The Purge: Anarchy.”
Much of this is the familiar cat and mouse, although the introduction of a class revolutionary, Carmelo (Michael K. Williams in a black beret and beard), indicates that Mr. DeMonaco, who wrote the 2005 remake of “Assault on Precinct 13,” has wisely absorbed the lessons of that genre maestro John Carpenter.
The original eventually devolved into a home-invasion showdown — a comfortable fit for DeMonaco, who also penned the 2005 “Assault on Precinct 13” remake.