John Carpenter is an undisputed master of horror. 'Halloween' was only his third full-length feature film, yet in 1978 he already aptly demonstrated the hallmarks of his style that would define additional classics like 'The thing' and 'In the mouth of madness.' The slow build of tension and suspense, and the atmosphere laden with every feeling of anxiety, desperation, paranoia, suspicion, and so on, is so clearly Carpenter's favored playground. And it's no small part of why he's my favorite director.
'Assault on Precinct 13' is something a little different. There's suspense, but no real atmosphere. We get thrills, but this isn't horror. This is a no-frills action film, its scenes largely confined to a single location. In some movies that singular focus may limit the narrative possibilities, but 'Precinct 13' bears such a simple plot that the tight setting allows Carpenter to zero in on his actors, and especially on the technique with which he wants to tell this story.
Released in 1976, 'Precinct 13' offers a glimpse of an expert filmmaker very early in his career. Here he was honing the stylistic choices he'd become known for even with his very next feature: The apprehension of the scenario is perhaps less immediately palpable than in his later classics, but Carpenter certainly already had an eye for the approach he wanted to take. The characters in the station are tired and desperate, yet match the determination of their assailants as the fight goes on, and Carpenter's keen eye catches every subtle moment and expression.
As the explosive finale rolls around, the cacophony of noise and effects complements the hard action in a climax that echoes the mounting tension in Carpenter's more celebrated films. And, very pleasing to my senses, we viewers are left with some details not fully explained, whether for us or for the characters. That's fine, because they don't have to be - not every last thing needs to be laid out for audience consumption. The story has been told; it's okay to let that be enough. Sometimes I wish more screenwriters and filmmakers held to that.
It's interesting to watch John Carpenter cut his teeth on such a relatively low-key picture before tackling more complex films like even 'Halloween' in '78, or 'The fog' in 1980. It has a very different feel from those movies of his that we know best, but is nonetheless unmistakeably Carpenter. Those emerging signatures of his style are emphasized by his own original score, and yet another classic, memorable theme.
Recommended for Carpenter fans, naturally, and for anyone who likes to get a peek at where filmmakers started before they became household names. Horror fans may be disappointed by the very different tone and narrative. But even putting aside specific reasons that one may seek it out, 'Assault on Precinct 13' is a well-made movie that stands on its own.
'Assault on Precinct 13' is something a little different. There's suspense, but no real atmosphere. We get thrills, but this isn't horror. This is a no-frills action film, its scenes largely confined to a single location. In some movies that singular focus may limit the narrative possibilities, but 'Precinct 13' bears such a simple plot that the tight setting allows Carpenter to zero in on his actors, and especially on the technique with which he wants to tell this story.
Released in 1976, 'Precinct 13' offers a glimpse of an expert filmmaker very early in his career. Here he was honing the stylistic choices he'd become known for even with his very next feature: The apprehension of the scenario is perhaps less immediately palpable than in his later classics, but Carpenter certainly already had an eye for the approach he wanted to take. The characters in the station are tired and desperate, yet match the determination of their assailants as the fight goes on, and Carpenter's keen eye catches every subtle moment and expression.
As the explosive finale rolls around, the cacophony of noise and effects complements the hard action in a climax that echoes the mounting tension in Carpenter's more celebrated films. And, very pleasing to my senses, we viewers are left with some details not fully explained, whether for us or for the characters. That's fine, because they don't have to be - not every last thing needs to be laid out for audience consumption. The story has been told; it's okay to let that be enough. Sometimes I wish more screenwriters and filmmakers held to that.
It's interesting to watch John Carpenter cut his teeth on such a relatively low-key picture before tackling more complex films like even 'Halloween' in '78, or 'The fog' in 1980. It has a very different feel from those movies of his that we know best, but is nonetheless unmistakeably Carpenter. Those emerging signatures of his style are emphasized by his own original score, and yet another classic, memorable theme.
Recommended for Carpenter fans, naturally, and for anyone who likes to get a peek at where filmmakers started before they became household names. Horror fans may be disappointed by the very different tone and narrative. But even putting aside specific reasons that one may seek it out, 'Assault on Precinct 13' is a well-made movie that stands on its own.