Product Description

In this unrelenting action masterpiece from director John Carpenter (Halloween, Escape from New York), a police station under siege from a vicious street gang becomes a cataclysmic battleground where only the strongest survive! Inspired by Howard Hawks' immortal western, Rio Bravo, this explosive gem from one of cinema's great frightmasters has been newly remastered with a host of high-powered extras!

Product Details

• Amazon Sales Rank: #47229 in DVD
• Brand: IMAGE ENTERTAINMENT
• Released on: 2003-03-11
• Rating: R (Restricted)
• Aspect ratio: 2.35:1
• Formats: Anamorphic, Color, Dolby, DVD, Widescreen, NTSC
• Original language: English
• Number of discs: 1
• Running time: 91 minutes

Amazon.com
Before making the original Halloween into one of the most profitable independent films of all time, John Carpenter directed this riveting low-budget thriller from 1976, in which a nearly abandoned police station is held under siege by a heavily armed gang called Street Thunder. Inside the station, cut off from contact and isolated, cops and convicts who were headed for death row must now join forces or die. That's the basic plot, but it's what Carpenter does with it that's remarkable. Drawing specific inspiration from the classic Howard Hawks Western Rio Bravo (which included a similar siege on disadvantaged heroes), Carpenter used his simple setting for a tense, tightly constructed series of action sequences, emphasizing low-key character development and escalating tension. Few who've seen the film can forget the "ice cream cone" scene in which a young girl is caught up in the action by patronizing a seemingly harmless ice cream truck. It's here, and in other equally memorable scenes, that Carpenter demonstrates his singular knack for injecting terror into the mundane details of daily life, propelling this potent thriller to cult favorite status and long-standing critical acclaim. --Jeff Shannon

Customer Reviews

Intense, Nail Biting Action
One should not watch this movie expecting the highly choreographed gunfight ballets that John Woo initiated & every other action movie has followed ever sense. This movie preceded all of that. The plot focuses on a small group of police officers and convicts fighting off a relentless street gang in an all but abandoned precinct. There are two central heroes of this movie: Bishop, a Black Police Chief who is new to the job & looking for a little adventure at the beginning of the film (a superior officer asks him "Do you want to be a hero your first time out?" "Yes, Sir," Bishop replies); and there is Napolean Wilson, a White man on his way to death row when the prison bus he is riding is forced to make a detour (check out this plot twist: another prisoner starts coughing & wheezing, nearly passing out, and guess what, rather than pulling a shiv on the cop who examines him, it turns out the guy is really sick! How often does that happen in a movie?). Napolean Wilson is a man with a lot of snappy comebacks. He says everything that we wished we'd said in certain situations after we thought about it because we know it would be so cool. More than one character says "You're pretty fancy, Wilson." The details of Wilson's crime is never revealed, but the fact that it was exceptionally savage is clear by the response of everyone else's response to him. These characters could have been lifted from any John Ford movie, but the fact that the movie takes place mostly at night and has a more contemporary time frame gives the movie a sweaty-palmed urgency that the Westerns lack. Even though the movie was made in 1976, the scene where the street gang cruises around & considers who to kill in a random drive-by shooting feels all too contemporary. Director John Carpenter limits the dialogue of the street gang in much the same way that the old Westerns would keep Indians at a distance -- so that the audience would never feel any empathy towards them. This hardly seems necessary as it seems difficult to feel pity for street gangs, but the move only helps to make them seem more fierce & inhumane than they might have otherwise been perceived. John Carpenter's memorable score also helps to accentuate the tension. A brilliant low-budget thriller that tops most of the big-budget ones we are stuck with today.

They really don't make 'em like this anymore
Before there was Halloween, there was Assault on Precinct 13, John Carpenter's second movie and arguably his first masterpiece. Fans of his later work should be warned though, there's no traditional horror or supernatural elements here, just one of history's all-time great low-budget action movies. By now the plot should be familiar to just about anyone reading this review: a lone cop and a couple of lifers have to defend a virtually abandoned police station against a street gang's onslaught. However, it's what Carpenter does with this concept that makes Assault on Precinct 13 such an exciting and memorable watch. It's a brilliantly executed pressure-cooker of a movie, thrusting a few decidedly disparate people into an unimaginably dire situation and letting us watch them as they try to figure out what to do about it. Although Carpenter has made much of the influence of classic westerns on this movie (Rio Bravo in particular), there are also ample doses of the eerie minimalism and stark brutality that Carpenter brought to Halloween, along with the tense, claustrophobic atmosphere that characterized much of Night of the Living Dead. Released in 1976 against the backdrop of escalating violence and decay in America's cities, the movie plays perfectly into fears of urban crime, as a small band of heroes are literally confronted with an onslaught from a small army of gang members. At bottom, though, Assault on Precinct 13 is a story of courage and heroism under the worst of circumstances, and it accomplishes this difficult task without being the slightest bit preachy, which may be even more impressive.

The movie certainly begins in a harrowing enough fashion, as the opening sequence shows six members of a gang known as Street Thunder being cut down by police gunfire in a darkened alley, followed by their gang's (oddly multiracial) leadership swearing a highly unpleasant blood oath vowing revenge for the deaths of their colleagues. From there the movie slows to a snail's pace for a while, establishing the important plot points and characters and steadily building suspense as the members of Street Thunder cruise the streets of the ghetto looking for a suitable target. However, this relative quiet is shattered in a most dramatic fashion in the now-infamous incident in which a little girl meets her unfortunate end at the hands of a machine-like gang leader (played in extremely menacing fashion by Frank Doubleday) while her father chats on a pay phone a few yards away. Carpenter admits in the DVD's commentary track that this scene would virtually guarantee an NC-17 rating today, and it's hard to disagree: it's almost unspeakably horrific, both in its unflinching violence and in the utter anguish that ensues when Dad sees the gang's handiwork. Things don't get much better when the girl's father exacts some revenge of his own on the shooter, as he winds up getting more than he bargained for and kicking the plot into high gear in the process when the rest of the gang pursues him into a nearly abandoned police station.

This admittedly obvious plot device doesn't just get the action of the movie in motion, it establishes an important pattern: long periods of exposition punctuated by explosions of hard-hitting visceral action. Made for about $100,000 (a tiny amount even 30 years ago), Assault on Precinct 13 is hardly a big-budget Hollywood extravaganza in the vein of Die Hard or Total Recall, but its cheap and simplistic feel actually winds up working in its favor. With virtually no money for special effects or big-name stars, Assault on Precinct 13 succeeds due largely to its emphasis on mood, economical dialogue, and characterization. Much like the aforementioned Night of the Living Dead, this movie examines the dynamics that unfold when a group of strangers are thrown together and forced to confront a mass of nameless, faceless enemies lurking right outside. More so than in Night of the Living Dead, though, here we really get an idea of the characters as people, particularly the three principals: Austin Stoker's amiable (and classically Afroed) black cop Ethan Bishop; Lynn Zimmer's determined secretary Leigh; and of course Darwin Joston's iconic convict Napoleon Wilson. From his icy stare to his sardonic wit to his considerable azz-kicking skills (check out that textbook arm break on the thug in the holding cell), Wilson is right up there with Eddie Murphy's Reggie Hammond from 48 Hrs. in the pantheon of film's most memorable antiheroes-turned-heroes.

Still, for all its character and plot development, Assault on Precinct 13 is at its best when it's in full-bore action mode. The violence is actually somewhat sporadic and generally not particularly graphic, but when it gets going it really gets going. The movie's most thrilling sequence undoubtedly occurs when the members of Street Thunder stage a full-scale assault on the police station and its inhabitants greet them with guns blazing. Watching Bishop, Wilson, and even Leigh dispense justice in the form of hot lead is itself more than worth any rental fee you might pay. It's actually somewhat reminiscent of the legendary climactic church standoff in John Woo's The Killer, which is of course a good thing 'cause that movie rules.

Fittingly, Image Entertainment has decked out this new special edition DVD with loads of extras, most notably a full-length commentary track from Carpenter and an interview with Carpenter and Stoker (though mostly Carpenter, which is too bad because Stoker's a funny guy) filmed a few years ago at the Egyptian Theater in Hollywood. The commentary and interview are full of insights from Carpenter, from descriptions of the film's technical aspects to the art of low-budget filmmaking to discussion of the film's influences and the aftermath of its release. There's also a brief, but extremely hilarious, revelation by Carpenter of how he managed to avoid getting Assault slapped with an X rating. Great stuff, just like this movie. You'd have to be nuts to avoid picking up the DVD, especially given its low price.

BluRay Assault on Precinct 13 Killer Disc
HD DTS Mastr sound is the most powerful I've ever heard Carpenter's music and the 1080p credits really got me standing at attention. Good, because the next opening 'dark' scene is the worst looking scene in an otherwise exceptional BD of the classic Carpenter film. The film never looked or sounded so good which makes for a better experience. I'm enjoying it more than ever before. Extras include Carpenter commentary and isolated music track in Dolby (sounds good) and a bunch of other stuff. I like isolated sound tracks. If somebody wants to compare the picture to recent blockbusters they are misguided. Looks great, sounds great. Carpenter, good for you, good for me!