#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Police ambush and kill several gang members in Los Angeles. Gang members make a pact of blood to strike back at police, and conduct a siege on the police station which is almost abandoned and due to be closed. Staff of the closing precinct and the criminals being held there while in transit must work together to fight off the attacking gang members.
Plot: The lone inhabitants of an abandoned police station are under attack by the overwhelming numbers of a seemingly unstoppable street gang.
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|7.4/10 Votes: 44,353|
|7.3 Votes: 626 Popularity: 9.505|
Awesome film one of my all time favorite movies Plus (Great soundtrack)
There are no heroes anymore, Bishop. Just men who follow orders.
Assault on Precinct 13 is written, directed, edited and musically scored by John Carpenter. It stars Austin Stoker, Darwin Joston, Laurie Zimmer, Martin West, Tony Burton, Charles Cyphers and Nancy Kyes. Cinematography is by Douglas Knapp.
If you are going to homage films that you love, or ones that influence you, then you have to get it right. Something John Carpenter most assuredly did with this, his first masterpiece. Plot and structure of film are simplicity extreme, but it’s the execution that matters here, the cool veneer of the hero characters, the frightening relentlessness of the gang members who assault the soon to close down police station and the small number of inhabitants within. Interestingly it’s actually Precinct 9, Division 13, but Carpenter was no doubt in a playful mood.
Carpenter builds the first half slowly, introducing key characters whilst deftly staging the events that will lead to the actual siege itself. This part of Los Angeles where the story is set is conspicuous by how empty and soulless it seems, even in daylight, which is where the terror actually begins. It’s as if residents and locals just prefer to be off the streets at any time of day or night.
The gang, like the folk inside the station, are multiracial, but unlike those inside the gang never speak. They move like silent assassins, no shouting or cussing, just a tidal wave of death, their guns adorned with silencers, which leads to a truly brilliant extended sequence as the gang begin to destroy the building silently! Meanwhile relationships are being formed by those under duress, convicts and police forced to battle side by side in the slightest hope of surviving the night.
There is no flab on show here, no pointless dialogue or scenes which could have been cut, it’s a film that is very much to the point. The cast respond well to Carpenter’s requirements, be it emotionally, physically or coolly, all while Carpenter’s low tone synthesiser plays out its memorably eerie beats. It’s a superb lesson in low budget film making from one of the masters of that art. His filmic star may have waned in his later life, but for a time in the 70s and 80s he shone bright, Assault On Precinct 13 was the ignition. 10/10
John Carpenter is one of few directors who can successfully transform their movies into giant roller coaster rides without insulting the audience. James Cameron does this, sometimes, but usually adds more plot to his stories. Carpenter just takes simple premises, throws some characters together, and lets everything evolve and unwind on their own. “Assault on Precinct 13” deserves to be mentioned in the same breath as “Dawn of the Dead,” or perhaps the overrated “Texas Chainsaw Massacre,” as a very low-budget horror/thriller that takes a cast of unknowns, places them together, doesn’t really delve into their backgrounds, but lets everything just work itself out like clockwork. There’s an eager new cop, an infamous death row murderer, and a relocating precinct, all stuffed together into a movie about a vicious gang assault. It’s brilliant in a very subtle way; a sign of things to come for a director who has implemented some of the most oft-used camera tricks in the horror world.
He pioneered the first-person killer perspective in “Halloween” – an effect sorely missed on full screen TV and VHS versions, to once again be savored on the wide screen DVD presentation. Carpenter received quite a number of critical jabs in 1978 for his use of the POV technique, explained to be too voyeuristic and potentially dangerous to be shown in a mainstream motion picture. Hitchcock used the POV technique very subtly in “Psycho’s” famous shower sequence, but in “Halloween” it was far blunter, resulting in an uproar of moral complaints.
No matter. “Halloween” became movie horror legend, casting a spell over its viewers, inspiring major knock-offs such as the “Friday the 13th” series (which has overall made more money than the “Halloween” franchise due to more sequels than “Police Academy”).
“Assault on Precinct 13” was one of Carpenter’s very first efforts at directing. It shows. The movie is flawed, imperfect, both technically and otherwise (some of the dialogue in particular could have used fixing, and the acting is nothing incredible by any means). But it still has an addictive sense of urgency and frantic pacing that makes the movie feel like one long, non-stop, brutal assault – even though the setup for the film takes over forty minutes. It may not be a flawless film but it is one of my favorites.
It’s about a new cop named Bishop (Austin Stoker) who is put in charge of a transferring L.A. police precinct – number thirteen. As equipment is carried out of the building and last-minute closings are made, far away a bus load of convicts, including notorious murderer Wilson (Darwin Joston), decide to stop at precinct 13 due to the fact that one of the criminals seems to be coming down with a harsh cough. And downtown, a young girl is shot by a ruthless gang member. Her father shoots the killer, and then flees to precinct thirteen, hunted by the gang members, who eventually begin to siege the precinct in a suicide raid. Trapped with two killers, a few cops and a jail warden, Bishop and company try to think of a way out of the place without getting shot by the vicious gang outside.
That’s basically it – people stuck inside a police station trying to get out without dying in the process. The movie is only ninety minutes long, give or take, which is a good thing, because if it had been any longer it might have lost some of its pacing and become tiring. Instead, there isn’t a single scene in “Assault on Precinct 13” that I think should have been cut. I’m sure there are some that could have been tossed onto the editing room floor, but I’m glad that the movie is the way it is – it flows smoothly and we don’t ever feel like a scene has gone on too long or too short. In that sense, it’s just about perfect.
Carpenter has had one of the most successful careers of all time, followed by a legion of cult fans. His “Halloween” is one of the greatest horror films of all time, and one of the most influential. He occasionally makes his duds, like any director, but in this case, the good far outweighs the bad. “Assault on Precinct 13” is an utterly refreshing film experience that manages to maintain a fast speed but never appears to be cheating its target audience, or treating them stupid. The movie is being remade in 2005, with a considerably higher budget, bigger names, and probably worse directing. I don’t really look forward to this remake because I can almost guarantee that, given the age it is being made in, there will be many pointless plot explanations, worse dialogue and bad direction. “Assault on Precinct 13” does not really need to be made again because the first one works so well. History has taught us that most remakes are not at all on the same level as their influences – just look at Hitchcock’s “Psycho,” then Van Sant’s. If it isn’t broken, don’t fix it. “Assault on Precinct 13” is not broken and it does not need to be fixed.
“Can’t argue with a confident man”
The gritty, stylish ‘Assault on Precinct 13 (1976)’ is my first experience with American director John Carpenter, labelled an “auteur” by the French and a “bum” by his compatriots. At this early stage, I’m siding with the French. This is one of the definitive “siege films,” a deft, low-budget blend of the American Western (let’s say ‘3:10 to Yuma (1957)’) and a zombie movie (‘Night of the Living Dead (1968)’ being an obvious influence). In modern-day Los Angeles, the lone inhabitants of a closing-down police station – among them police officers (Austin Stoker), secretaries (Laurie Zimmer), and prisoners (an ice-cool Darwin Joston) – are affronted by dozens of armed gangsters, who are waging a bloody war with the authorities as payback for recent gang-member deaths.
After an extended prologue, in which disparate story lines fatalistically converge on each other (and featuring one particularly nasty moment than nearly landed the film an X-rating) the siege scenario begins and the tension rarely lets up. One sequence in particular, a tense crawl towards a parked car, had me holding my breath for minutes, its conclusion a veritable kick in the guts. Carpenter, assisted by his own low-key but insistent synchronised score, manipulates the film’s urban setting to his advantage: isolation becomes so much more unbearable when civilisation is so near, and yet so unattainable. Chillingly, most of the antagonists themselves remain faceless shadows in the darkness, representing an incomprehensible force of evil, consumed by bloodlust, and unafraid of the consequences.
Original Language en
Runtime 1 hr 31 min (91 min)
Genre Action, Crime, Thriller
Director John Carpenter
Writer John Carpenter
Actors Austin Stoker, Darwin Joston, Laurie Zimmer, Martin West
Awards 1 nomination.
Production Company Overseas Film Group
Sound Mix Mono, Dolby Stereo (DVD re-release)
Aspect Ratio 2.39 : 1
Camera Panavision PSR R-200, Panavision C-Series Lenses
Laboratory Metrocolor, Hollywood (CA), USA
Film Length N/A
Negative Format 35 mm (Eastman 100T 5254)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm