Attack mot polisstation 13 (1976) - Posters p. Inramningar till ett bra pris, snabb. Hans dotter dog i korselden mellan n. Han tar sin tillflykt till. Attack mot Polisstation 1. Assault on Precinct 1. Regi, manus, klipp, musik John Carpenter (under pseudonymen John T. Stationens poliskapten har s Attack mot polisstation 13 (Assault on Precinct 13) Genre: Action Kriminalare Thriller: Regiss. Kaplan: Manus: John Carpenter. Attack mot Polisstation 13 (Nyrelease) (Import Sv.Text). Chance) Foto Douglas Knapp Scenografi Tommy Wallace Specialeffekter Richard Albain, Jr. Med Austin Stoker Ethan Bishop Darwin Joston Napoleon Wilson Laurie Zimmer Leigh Tony Burton Wells Charles Cyphers Starker Nancy Loomis Julie Martin West Lawson Peter Bruni glassf. Resultatet, Dark Star (1. Sverige), blev en science- fictionkomedi med tydligt parodiska pikar mot Stanley Kubrick & Arthur C. Dark Star hade bara hunnit visas p. It was a weird little science- fiction movie, with a lot of imagination and energy but a cardboard spaceship. I wanted it to be slick and professional, with suspense and a sense of humour; what it was? Carpenter demonstrerar ocks. Kaplan skrapa ihop 2. Different reasons for each one. Download Attack mot polisstation 13 torrent or any other torrent from Other Movies category. Assault on Precinct 13. Regi, manus, klipp, musik John Carpenter (under pseudonymen John T. Chance) Foto Douglas Knapp Scenografi Tommy Wallace. Attack mot Polisstation 13 (1976) Originaltitel: Assault on Precinct 13. S: Austin Stoker, Darwin Joston, Laurie Zimmer, Henry Brandon, Tony Burton. I think I prefer Howard Hawks over everybody. De flesta av den amerikanska filmtraditionens arvtagare hade en revisionistisk dagordning, visserligen med k. Dessutom skildrar man den brutala kontrasten mellan eskapism och social verklighet. I Brian De Palmas filmer finns en l. I feel I am a little bit out of time. I have much more kinship for older style films, and very few films that are made now interest me at all. I get up and walk out of them. Not necessarily that I want to say to the audience hey, you. And I find that I make films differently, and my ideas are basically different from most directors in Hollywood because . Styrkan i Carpenters filmer ligger i hans f. Hans hantverkskunnande fingertoppsk. Huvudsakligen . Men, liksom i Attack mot Polisstation 1. De stannar bilen och h. Men Hawks ton och stilgrepp genomsyrar hela filmen. Vilka de attackerande g. Den producerades 1. Det handlar knappast om n. En i gruppen stannar, anar or. Tystnaden bryts av en megafonf! Drop your weapons and put your hands on your heads. Scenens slutbild vilar p. The juvenile gang problem is completely out of control. The missing automatic weapons has not been recovered. We now have a lead which shows that some of these weapons have fallen into the wrong hands. It is true that law enforcement has been driven to deplorable extremes, but those guns are out there. And believe me, if the people who has them get organized, no one will stand a chance. Iscens. Den enda polis som skymtar f. Vid denna punkt i filmen infinner sig givetvis tanken att vi kommer att f. Just men who follow orders. Vi ska mycket riktigt se att Starker f. Den senare har egenskaper som liknar Wilsons men n. Leigh har naturligtvis svaret: . I USA existerar bara en enda stor, idealistisk v. Samtidigt underminerar Carpenter allvaret i filmen med sj. Hans analys grundar sig p. Lunds Studenters Filmstudios katalog h. Assault - Anschlag bei Nacht (1. 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. 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 . Carpenter received quite a number of critical jabs in 1. 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 . 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. 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 1. 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 . 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. He occasionally makes his duds, like any director, but in this case, the good far outweighs the bad. The movie is being remade in 2. 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. History has taught us that most remakes are not at all on the same level as their influences - just look at Hitchcock's . If it isn't broken, don't fix it.
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