Assault on Precinct 13 (2005) Poster

Assault on Precinct 13 (2005)

  • Rate: 6.3/10 total 57,813 votes 
  • Genre: Action | Drama | Crime | Thriller
  • Release Date: 19 January 2005 (USA)
  • Runtime: 109 min
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Assault on Precinct 13 (2005)


Assault on Precinct 13 2005tt0398712.jpg poster

  • IMDb page: Assault on Precinct 13 (2005)
  • Rate: 6.3/10 total 57,813 votes 
  • Genre: Action | Drama | Crime | Thriller
  • Release Date: 19 January 2005 (USA)
  • Runtime: 109 min
  • Filming Location: Detroit, Michigan, USA
  • Budget: $20,000,000 (estimated)
  • Gross: $281,429 (South Africa) (17 June 2005)
  • Director: Jean-Fran├žois Richet
  • Stars: Ethan Hawke, Laurence Fishburne, Gabriel Byrne | See full cast and crew »
  • Original Music By: Graeme Revell   
  • Soundtrack: Generique Assault
  • Sound Mix: DTS | Dolby Digital
  • Plot Keyword: Police | New Year's Eve | Prisoner | Deception | Police Station

Writing Credits By:

  • John Carpenter (earlier film)
  • James DeMonaco (screenplay)

Known Trivia

  • Mark Wahlberg was originally offered the role of Jake Roenick but turned it down. 1 of 1 found this interesting Interesting? YesNo |
  • The word “fuck” and its derivatives are spoken 127 times. 1 of 1 found this interesting Interesting? YesNo |
  • At least 7 people get shot in the head. 1 of 1 found this interesting Interesting? YesNo |
  • Laurence Fishburne’s character is called Bishop. This was also the last name of the protagonist of the original Assault on Precinct 13 (1976). 1 of 1 found this interesting Interesting? YesNo |

Goofs: Continuity: During the initial sequence of lasers and shots aimed inside the station, characters close the Venetian blinds. However, in subsequent shots, the blinds are open again.

Plot: A police sergeant must rally the cops and prisoners together to protect themselves on New Year's Eve, just as corrupt policeman surround the station with the intent of killing all to keep their deception in the ranks. Full summary »  »

Story: On New Year’s Eve, inside a police station that’s about to be closed for good, officer Jake Roenick must cobble together a force made up cops and criminals to save themselves from a mob looking to kill mobster Marion Bishop. Written byIMDb Editors


Synopsis: On New Years Eve, Detroit’s oldest police station, Precinct 13, is about to close forever. Only a skeleton crew of officers are on duty for New Year’s Eve, including Sergeant Jake Roenick (Ethan Hawke), veteran officer Jasper (Brian Dennehy), secretary Iris (Drea de Matteo), and psychiatrist Alex (Maria Bello). Roenick is haunted by a botched undercover operation from eight months before that resulted in the death of the other two members of his team.

Meanwhile, crime lord Marion Bishop (Laurence Fishburne) is arrested after a confrontation results in the death of an undercover officer. Bishop is put on a prison bus with three other criminals: meth addict Beck (John Leguizamo), petty crook Anna (Aisha Hinds), and counterfeiter Smiley (Ja Rule). A raging snowstorm and treacherous road conditions force the bus driver to make a detour to Precinct 13, where the prisoners are to be held until the storm is over.

New Year’s celebrations at the precinct are soon cut short, however, as an intrusion by two masked gunmen results in the death of one of the prison guards, and fatally injures the other. The officers soon find they are surrounded by unknown assailants, preparing to lay siege to the precinct. The electricity in the station then goes off and all the land-line phone lines are cut. Cellular phone reception has also been jammed, as well as any radio communication. After one of the attackers throws a brick into the precinct with "Bishop" written on it, Jasper claims they are Bishop’s men, here to extract him.

This is proven to be false, however, after Roenick kills one of the attackers in another assault and reclaims the man’s wallet, which contained his police badge. Bishop then reveals the attackers are actually policemen, led by corrupt Captain Marcus Duvall (Gabriel Byrne). Previously, Bishop and Duvall were partners in crime, but Duvall got greedy. Now he and his men, including Sgt. Mike Kahane (Currie Graham), are there to kill Bishop before he can testify at trial, saving all officers involved a hefty prison sentence. However, now that everyone inside Precinct 13 knows of the true plot instead of just Bishop, they are all a liability and must be eliminated.

Heavily outnumbered by a growing police force made up of dirty street cops and SWAT officers, Roenick makes the decision to free and arm the prisoners to help them hold out until dawn. Although the officers do not trust the criminals, and vice-versa, Roenick and Bishop reach an agreement to cooperate in order to stand a chance to survive the night. With their combined efforts, they manage to repel further attacks by the police forces, and reclaim their weapons.

Soon Precinct 13 is joined by another officer, off-duty cop Capra (Matt Craven). After driving erratically enough to evade the snipers from the buildings across the street, he scurries into the building completely confused and panicked. The attending officers welcome him with open arms, but Beck accuses him of being a plant. Fearing he may start a shootout, Bishop subdues Beck to calm him down and settles the conflict.

Smiley also thinks that Capra is a plant, so he and Beck decide to risk the police force outside for a shot at freedom, and plan an escape over a nearby fence.

As the prison bus explodes and they notice Smiley and Beck escaping, they decide to use this as a distraction and also plan an escape, making use of Capra’s car in order for a couple people to flee the precinct and call for help while the police are busy with Beck and Smiley.

Anna, who can hotwire a car, volunteers to go. Alex also goes along. Beck and Smiley make it to the perimeter fence before they are killed by snipers. Anna and Alex appear to have made it, before a cop hidden in the backseat shoots and kills Anna, causing the car to crash and Alex to be captured.

Alex is brought before Duvall, who asks her how many are in the precinct. Defiant, she replies "a hundred", and she is executed by Duvall after complimenting her on her bravery.

With only Roenick, Bishop, Jasper, Capra, and Iris left, the precinct stands little chance of withstanding further assaults. Bishop discovers the handcuffs that were holding the back door locked are removed. He concludes that someone inside is helping the police and accuses Capra, but before anything can be done, the police begin to lay siege to the precinct with SWAT reinforcements from the rooftop when a police helicopter arrives and begins dropping men onto the roof.

Jasper miraculously remembers an old sewage entrance beneath the precinct, and Roenick and Bishop set the precinct on fire to slow their pursuers. The survivors escape along an abandoned sewer passageway, but even as they find themselves on a deserted street they are suddenly surrounded by the corrupt policemen. Jasper reveals himself to have been the traitor all along, and the officers led by Duvall prepare to execute the remaining survivors.

Bishop sneaks a flash grenade into Jasper’s jacket, and in the ensuing distraction the survivors disarm the officers and escape. Iris and Capra attempt to escape in the officers’ car, while Roenick and Bishop flee into the forest. Duvall and another officer pursue Roenick, while Kahane goes after the car. The car flips and Capra is heavily injured, but Iris manages to stab Kahane with his own knife.

In the nearby forest, Roenick is suddenly confronted by Bishop, who offers to cooperate in order to kill Duvall. As the corrupt officers have night vision and Roenick and Bishop do not, Roenick volunteers to draw their fire so Bishop can see the muzzle flashes from their weapons, and dispose of them while they are distracted. The plan works, and Bishop kills the accompanying officer, but he is then shot in the stomach by Duvall who orders Bishop to lure Roenick into a trap. Roenick arrives and guns down Duvall, but is shot in the side and injured also.

After considering their cooperation throughout the night, Bishop decides to spare Roenick, who vows that he will find and arrest him someday. After Bishop limps away, officers led by Iris arrive. An officer asks Roenick if anyone else is in the forest, and after looking around for a moment he replies "no". The last shot is of an injured Roenick and Iris making their way to the ambulance, where Iris states she did not even recognize the battle-hardened Roenick of the night, and he replies, "get used to it."


FullCast & Crew

Produced By:

  • Don Carmody known as executive producer
  • Pascal Caucheteux known as producer
  • James DeMonaco known as co-producer
  • Joseph Kaufman known as executive producer
  • Sebastien Lemercier known as executive producer (as Sebastien Kurt Lemercier)
  • Jeffrey Silver known as producer
  • Stephane Sperry known as producer

FullCast & Crew:

  • Ethan Hawke known as Sgt. Jake Roenick
  • Laurence Fishburne known as Marion Bishop
  • Gabriel Byrne known as Capt. Marcus Duvall
  • Maria Bello known as Dr. Alex Sabian
  • Drea de Matteo known as Iris Ferry
  • John Leguizamo known as Beck
  • Brian Dennehy known as Sgt. Jasper O'Shea
  • Ja Rule known as Smiley (as Jeffrey 'Ja Rule' Atkins)
  • Currie Graham known as Mike Kahane
  • Aisha Hinds known as Anna
  • Matt Craven known as Officer Kevin Capra
  • Fulvio Cecere known as Ray Portnow
  • Peter Bryant known as Lt. Holloway
  • Kim Coates known as Officer Rosen
  • Hugh Dillon known as Tony
  • Tig Fong known as Danny Barbero
  • Jasmin Geljo known as Marko
  • Jessica Greco known as Coral
  • Dorian Harewood known as Gil
  • Philip Marshall known as Hagen
  • Arnold Pinnock known as Carlyle
  • Edward A. Queffelec known as Bronco Gunman (as Ed Queffelec)
  • Robert Hayley known as Sniper James
  • Courtney Cunningham known as Cop #1
  • Leford Lawes known as Precinct 21 Cop #1
  • Roman Podhora known as Cop #3
  • Gilson Lubin known as Mover #2
  • Brian King known as Fireman #2
  • Laurent Richet known as Undercover Cop
  • J.C. Kenny known as Reporter #1
  • Sasha Roiz known as Jason Elias
  • Ray Kahnert known as Priest
  • Dave Tommasini known as Pilot (as Dave Thomassini)
  • Jeff Ironi known as Fireman #1
  • Melissa Thomson known as Lawyer
  • Darren Frost known as Mover #1
  • Al Vrkljan known as Sniper Sebastien (as Alan Vrkljan)
  • Titus Welliver known as Milos
  • DTeflon known as Swat Officer #2 Sgt Lewis (uncredited)



Supporting Department

Makeup Department:
  • James D. Brown known as key hair stylist (as James Brown)
  • Mario Cacioppo known as makeup artist: Mr. Fishburne
  • Francine Francis-Lee known as hair stylist: Mr. Fishburne
  • Paul Jones known as special makeup effects artist
  • Fina Khan known as assistant hair stylist
  • Donald Mowat known as key makeup artist (as Donald J. Mowat)
  • Edelgard K. Pfluegl known as assistant makeup artist (as Edelgard Pfluegl)

Art Department:

  • Theresa Buckley known as props buyer
  • David G. Fremlin known as set designer
  • Jennifer Heimpel known as assistant art director
  • Ron Hewitt known as property master
  • Michael Huschka known as assistant property master
  • Henry Ilola known as carpenter
  • Mayumi Konishi-Valentine known as set designer (as Mayumi Konishi)
  • Matthew Lammerich known as key scenic artist
  • Erin Leslie known as scenic artist
  • Aeschylus Poulos known as art department coordinator
  • Dawn Rivard known as set buyer
  • Jeremy Simser known as storyboard artist
  • Phillip Tellez known as construction coordinator
  • Steve Middlebrook known as on-set dresser (uncredited)




Production Companies:

  • Rogue Pictures (presents)
  • Why Not Productions (as Why Not)
  • Liaison Films
  • Biscayne Pictures

Other Companies:

  • Hyperactive Broadcast  editing equipment
  • AON  insurance
  • Chapman/Leonard Studio Equipment  dollies
  • Cine-Byte Imaging  digital film scanning
  • Cine-Byte Imaging  digital opticals
  • Deluxe Post-Production  post-production facilities
  • Deva Studios  title design: main titles (as Devastudios)
  • Donna Daniels Public Relations  publicity
  • EFilm  digital intermediate
  • Hand Prop  props supplied by
  • Internet On Set  on-set satellite internet
  • Movie Armaments Group  weapons and tactical gear supplied by
  • Now Clear This!  clearance services (as Now Clear This Research)
  • Pivotal Post  Avid editing equipment provided by
  • Rudolfinum Concert Hall  score recording
  • Sheppard, Mullin, Richter & Hampton  production legal
  • Starcraft  craft service
  • Urban Marketing Corporation of America (UMCA)  field publicity
  • Varèse Sarabande  soundtrack published by
  • VideoStorm UK Ltd.  digital video assist
  • William F. White International  grip and lighting equipment


  • Rogue Pictures (2005) (USA) (theatrical)
  • Columbia TriStar Nordisk Film Distributors (2005) (Finland) (theatrical)
  • Compagnia Distribuzione Internazionale (CDI) (2005) (Italy) (theatrical)
  • Constantin Film (2005) (Germany) (theatrical)
  • Entertainment Film Distributors (2005) (UK) (theatrical)
  • Independent Films (2005) (Netherlands) (theatrical)
  • Metropolitan Filmexport (2005) (France) (theatrical)
  • Odeon Films (2005) (Canada) (theatrical)
  • Odeon (2005) (Greece) (theatrical)
  • Shaw Organisation (2005) (Singapore) (theatrical)
  • United International Pictures (UIP) (2005) (Argentina) (theatrical)
  • United International Pictures (UIP) (2005) (Australia) (theatrical)
  • Alliance Atlantis Home Video (2005) (Canada) (DVD)
  • Dutch FilmWorks (DFW) (2005) (Netherlands) (DVD)
  • Entertainment in Video (2005) (UK) (DVD)
  • Highlight Film (2005) (Germany) (DVD)
  • Hollydan Works (2007) (Serbia) (DVD)
  • Nelonen (2008) (2010) (Finland) (TV)
  • Nordisk Film (2005) (Finland) (DVD) (VHS)
  • Nordisk Film (2005) (Sweden) (DVD)
  • Universal Studios Home Entertainment (2005) (USA) (DVD)
  • Universal Studios Home Entertainment (2005) (USA) (VHS)
  • Universal Studios Home Entertainment (2006) (USA) (DVD) (HD DVD)
  • Universal Studios Home Entertainment (2010) (USA) (DVD) (Blu-ray)
  • Veronica (2007) (Netherlands) (TV)



Other Stuff

Special Effects:

  • Acme Effects (pyrotechnic special effects)
  • Laird McMurray Film Service (snow effects)
  • Mr. X (digital visual effects)
  • Soho VFX (additional visual effects)
  • Technicolor Creative Services (additional compositing and visual effects)
  • Cine-Byte Imaging (digital opticals)
  • Paul Jones Effects Studio (special makeup effects)

Visual Effects by:

  • Rebecca Adams known as production coordinator: Soho VFX
  • Douglas Aiken known as digital compositor: trailer, S4 Studios
  • Brian Anderson known as 3D animator: Mr. X Inc.
  • Berj Bannayan known as software engineer: SOHO VFX
  • Barb Benoit known as digital compositor: Mr. X Inc.
  • Dennis Berardi known as visual effects supervisor
  • Kristy Blackwell known as CG supervisor: Mr. X Inc.
  • Dominik Bochenski known as additional compositing: Mr. X Inc.
  • Kris Brockman known as compositor: Mr. X Inc.
  • Mark Chong known as technical developer: Mr. X Inc.
  • Patrick Clancey known as digital opticals
  • Shawney Cohen known as digital effects artist: Mr. X Inc. (as Sean Cohen)
  • Drake Conrad known as scanning recording
  • Donnie Creighton known as digital intermediate assistant producer
  • Laurence Cymet known as digital compositor: SOHO VFX
  • Julia Deakin known as additional compositing: Mr. X Inc.
  • Rob Del Ciancio known as digital compositor: Mr. X Inc.
  • Bonnie Dickson known as compositor: Mr. X Inc.
  • Mike Diltz known as compositing assistant: Mr. X Inc.
  • Jeremy Dineen known as visual effects animator: Mr. X Inc.
  • Sasha Dragun known as systems administrator: Mr. X Inc.
  • Jason Giberson known as scanning and recording
  • Shane Glading known as lighting/rendering: Mr. X Inc.
  • Rob Gyorgy known as digital effects artist
  • Elizabeth Holmes known as digital compositor: SOHO VFX
  • Noel Hooper known as digital compositor: Mr. X Inc.
  • Bryan Jones known as lead compositor: Mr. X Inc.
  • Ntana Key known as digital intermediate color assistant
  • Perry M. Kimura known as digital scanning and recording: EFILM
  • Michael Kowalski known as producer: Soho VFX
  • Jef Lonn known as digital compositor: Mr. X Inc.
  • Brian Lui known as digital compositor: Mr. X Inc.
  • Allan Magled known as visual effects supervisor: Soho VFX
  • Chad Malbon known as producer: Technicolor
  • Seth Martiniuk known as compositor: Mr. X Inc.
  • Sarah McMurdo known as visual effects production manager
  • Daniel Mizuguchi known as 3D animator: Mr. X Inc.
  • Mike Mombourquette known as digital compositor: SOHO VFX
  • Saybian Morgan known as look development technical director: Mr. X Inc
  • Mike Mulock known as 3D animator: Mr. X Inc.
  • Sean O'Hara known as compositor
  • Marco Polsinelli known as additional compositing: Mr. X Inc.
  • Vladimir Popovic known as systems administrator: Mr. X Inc.
  • Aaron Pozzer known as digital artist: Mr. X Inc.
  • Aaron Pozzer known as lighting/rendering: Mr. X Inc.
  • Matt Ralph known as digital effects artist: Mr. X Inc.
  • Eric J. Robertson known as visual effects producer: Mr. X Inc.
  • Linda Rose known as in-house accountant: Mr. X Inc.
  • Chris Ross known as digital effects scanning
  • Steven J. Scott known as supervising digital colorist: EFilm
  • Keith Sellers known as digital compositor: Soho VFX
  • Vicki Silva known as digital compositor: Mr. X Inc.
  • David Singer known as operations Manager: Mr. X Inc.
  • Dev Singh known as coordinator: Mr. X Inc.
  • Karl Sisson known as 3D animator: Mr. X Inc.
  • Karl Sisson known as CG artist: Mr. X Inc.
  • Jason Snea known as compositor
  • Mark Stepanek known as lighting/rendering: Mr. X Inc.
  • Tamara Stone known as digital artist: Mr. X Inc.
  • Derek Sunderland known as digital artist
  • Hoa Tran known as 3D animator: Mr. X Inc.
  • Mark Tureski known as digital effects artist
  • Aaron Weintraub known as digital effects supervisor: Mr. X
  • Michael Wile known as lead compositor: SOHO VFX
  • Sarah Wormsbecher known as visual effects project manager: Technicolor
  • Kyle Yoneda known as 3D animator: Mr. X Inc.
  • Motassem Younes known as digital opticals
  • Thomas Mathai known as data manager (uncredited)

MPAA: Rated R for strong violence and language throughout, and for some drug content



Filmography links and data courtesy of The Internet Movie Database

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Posted on January 24, 2014 by Harry in Movies | Tags: , .


  1. Brandt Sponseller from New York City
    24 Jan 2014, 6:00 pm

    A remake of John Carpenter’s superior film of the same title from 1976,Assault on Precinct 13 concerns a siege on a largely abandoned policestation, which is related to the presence of a notorious criminal,Marion Bishop (Laurence Fishburne). It’s left up to a ragtag group ofpolice employees and criminals to defend themselves.

    I should start by noting that I absolutely love Carpenter’s originalfilm. In my view it is one of his best, perfectly capturing thesuburban desolation of 1970s Los Angeles, and exquisitely suspensefuland horrifying, even though it’s not really a horror film. Despitethat, when this remake of Assault on Precinct 13 began, I had highhopes for it. The first scene is well directed, well shot, withexcellent dialogue. It turns into an intense action scene at just theright moment, and results in some realistic, gritty deaths. The openingis as good as anything in the Carpenter film.

    Unfortunately, Assault on Precinct 13’s excellence ended right there.It’s not exactly a bad film–I enjoyed it more often than not, but itdoes have more than its share of flaws. In the end, my rating averageout to a 7 out of 10. Recommendable, but with reservations.

    The first problem is that director Jean-Francois Richet tries to do toomuch–too much backstory, too many characters, too many over-the-topcharacters, too many quick cuts, too much shaky hand-held camera work,too many "big action moves", too many explosions, too many settings,and it’s too dark. That the film is often so quickly edited and darkmakes it too often difficult to see what’s going on in the actionscenes. Carpenter’s film succeeded by being very taut, economical,sober and logical in its directorial style. Richet tries to one-up theoriginal by forgoing all of those qualities. By the second or thirdscene, I was fairly confused. Superfluous characters were popping inand out, people were mumbling dialogue, and there was a whole complexbackstory being hinted at and not spelled out very well.

    The brutal shooting near the beginning of the original film, which setsoff the whole sequence of events, was dropped–that thread wascompletely removed from the film. It was lamentable in that this newAssault loses much of the simple, sensible drive the thread provided,and it was surely a decision based on political correctness. Likewise,Bishop is not allowed to be a clear-cut bad guy here. That saps some ofthe effectiveness out of his cooperation. In this film, he might bemostly tough talk. The other criminals in the film are either leftlargely unexplained or guilty of only petty or consensual crimes. Ifind this kind of political correctness in films reprehensible,although I realize it’s primarily a studio decision.

    On the positive side, the villains here were cleverly conceived, andtheir nature makes them much more menacing physically. On the negativeside, however, Richet lost the Night of the Living Dead (1968)zombie-like nature of the marauders, which saps suspense from theattacks. The logistics of the defense of the police station and detailsof their dilemma are not very clearly scripted or staged, either, whichdoesn’t help. Another flaw is that some intruders seem to inexplicablyhesitate. Another positive, though, is that Richet’s film brings back afew small details, such as the capture of the criminal at the beginningof the film, and a substance addiction in one of the heroes leading toa character transformation, found in Rio Bravo (1959), the film that inconjunction with Night of the Living Dead, was the main inspiration forCarpenter’s original film.

    Also on the positive side, this Assault has a skilled (and much morewell known) cast. Even though Richter occasionally directed them to bea bit too over-the-top, the performances hit many very interestingnotes. And a few of the additions to the original film, such as aMexican standoff and a couple later scenes outside the police stationwere excellent. The increased firepower here may also be to someviewer’s liking.

    A viewer less fond of the original, or even unfamiliar with theoriginal, may like Assault better than I did. I may have even liked itbetter if the original were not so fresh in my memory (I just watchedit again it recently–a review is forthcoming). There are enoughredeeming aspects for action fans to make it worth at least a rental ora viewing on cable, but approach the film with lowered expectations.

  2. christian123
    24 Jan 2014, 6:00 pm

    On a snowy New Year's Eve, a police station where a bus full ofconvicts has been jailed comes under attack from corrupt policemen,forcing a police sergeant with a cloudy past (Ethan Hawke) to team witha ruthless mob boss (Lawrence Fishburne) to try to keep them at bay.

    The original was a pretty good film so I'm still confused about theneed to remake it. Yes, it was a little outdated but the film stillworked fine. I was expecting the remake to be really bad since thetrailer looked lackluster and Ethan Hawke isn't that good of an actor.However, this update turned out to be a decent film. It doesn'tapproach the original in quality but at least it doesn't insult theoriginal either. They do change some things from the original thoughthat didn't really bother me. Actually, it's kind of better that theytried it in a different way instead of doing it exactly the same(paging Psycho) and there was more reason to remake it.

    The performances were okay, nothing special. Ethan Hawke was okay asRoenick. He would sometimes go over the top and he was a little weak atsome points. Laurence Fishburne was better than Ethan but still onlyaverage. Ja Rule actually gives a good performance for a rapper thoughhe doesn't get a lot of screen time. John Leguizamo was okay, kind ofdull. Maria Bello gave the best performance out of everyone and she isa pretty underrated actress. Gabriel Byrne was just meh while Drea deMatteo was clearly there for eye candy and nothing more.

    Jean-François Richet does a decent job at directing and he manages tocreate some suspense. However, he does keep the film simple and most ofthe twists are obvious. The script is generic and weak with a lot ofclichés and little in the way of originality. The action sequences areslick and enjoyable but they are also kind of sparse. The movie alsobecomes dull from time to time even though the film isn't really thatlong. There is also little character development so it's hard to feelsorry for some of these people. The remake is really just asemi-enjoyable, generic action film. It fails to surpass the originalin most categories but it still stands as a decent film. In the end,Assault on Precinct 13 is a decent action film and it's worth checkingout. Rating 6/10

  3. Chris Gavez ( from Canada
    24 Jan 2014, 6:00 pm

    Now, before you criticize me, I have never seen the original JohnCarpenter version of this film. Being a huge fan, I really should seeit, and after seeing this remake, I will definitely track down theoriginal to see if it is as good as this film. I had a blast!

    New Years in Detroit, a cold winter’s morning as Precinct 13 preparesto close it’s doors and move to a new building. There are only threepeople in the building on New Year’s Eve, and as a storm draws closer,a criminal being transported to a maximum security center is re-routedto the deserted precinct. Only, there are some other people that wouldlike to get closer to the villain.

    Very exciting story and excellent acting by both Ethan Hawke andLaurence Fishbourne take this action over the edge. Some people mayfind the film ultra violent, but violence on the big screen neverbothered me, so I enjoyed it quite a lot! Definitely worth a look foraction fans, and fans of the original who are curious. However, thosethat are disturbed by violent images, would like to steer clear of thisfilm.

  4. Li-1
    24 Jan 2014, 6:00 pm

    Rating: ** 1/2 out of ****

    A lot of people will likely hate this movie by virtue of the fact thatit’s a remake. Being open-minded, I’m not offended by the thought of abeloved cult classic getting a Hollywood remake; it is, after all,quite interesting to see how the big-budget treatment affects the samepremise. In this case, the result is not too shabby at all, certainlybetter than the ads would indicate, even if this is a remake thatdoesn’t stand on its own nearly as well as Zack Snyder’s Dawn of theDead.

    Assault on Precinct 13 (referred to as AP13 from here on out) starsEthan Hawke as cop Jake Roenick, a former undercover officer who’s nowstrictly on desk duty after a horrible mishap that resulted in thedeaths of two fellow officers. It’s his last day (coincidentally alsoNew Year’s Eve) in Precinct 13, and he’s simply overseeing the transferalong with another cop (Brian Dennehy) and a secretary (Drea deMatteo).

    Due to the snowy conditions, a prison bus transferring dangerouscop-killer Marion Bishop (Laurence Fishburne) is forced to take refugein Precinct 13. But it becomes clear soon enough that there are a largenumber of corrupt cops surrounding the precinct, determined to killBishop and every possible witness inside. Faced with no other options,Roenick frees and arms the prisoners, using whatever means necessary tobattle against the far more numerous and better armed enemy.

    John Carpenter’s 1976 cult hit was a fairly effective thriller,maintaining an atmospheric claustrophobia that balanced nicely with thewell-choreographed shootouts. Though there are many differences betweenthese versions, both plot-wise and stylistically, this remakeessentially opts for the same brand of edge-of-the-seat excitement, butas is par for this generation’s offerings, the action sequences arepumped up with a lot more firepower and a lot less plausibility.

    As silly as Carpenter’s film may have seemed to the discriminatingviewer, it was a smartly plotted thriller with only a few minor holes.This remake, on the other hand, is riddled with all sorts of logicalinconsistencies. The most obvious one? In less than a day, the head ofthe corrupt team of cops (played by Gabriel Byrne) is somehow able toassemble his men on very short notice and arm them with top-notchweaponry that must have been hell to sign out from the armory (he evencalls in a chopper at one point). And as the body count significantlyrises, one has to wonder how he plans to cover up the massive bloodshed (blaming it on Bishop’s men doesn’t quite explain how his own menwere killed or what they were doing at the precinct).

    The body count is almost bafflingly low considering the numbersmentioned (Byrne says he’s got 33 men, hard to believe corruption couldspread to every one of them); I could swear fewer characters werekilled than were even involved in the entire film. Other problemsinclude a scene where Byrne chooses to execute a survivor rather thanuse this person as a bargaining chip, and as the number of survivorswithin the station dwindles down, one character conveniently remembersan escape route just as the building’s about to be invaded.

    The climax, a disappointingly rote cat-and-mouse chase, is set in aforest apparently right by the station, but I could have sworn anoverhead shot established the precinct in an entirely urban section ofDetroit. Along with the sagging pace in the second half, predictabilityalso hampers the suspense, it’s too easy to figure out who’s going todie and in what order. The identity of the traitor is also another easyguess, considering the very tiny list of suspects still around by thatpoint.

    For all these nagging flaws, the film is still worth mildlyrecommending for one lengthy, high-octane action setpiece. The firstmajor invasion of the precinct is a thrilling sequence, every bit theequal of the similar siege in the original, though louder andfaster-paced. The action even boasts a little bit of strategy and somemild thought. Other action scenes are competently handled, but lack theclaustrophobic edge of the shootouts set within the precinct.

    The cast is mostly first-rate, even Ethan Hawke, who usually doeslittle more than coast by on his best Tom Cruise impersonation.Laurence Fishburne, channeling a darker version of Morpheus, does wellwith what little material he has to work with, and it’s fun to seeBrian Dennehy barking up a storm again. Of the two female leads, MariaBello is the one with more "depth," but she’s almost fatally annoyingas the whiny psychologist. Drea de Matteo, on the other hand, is one ofthose rare women who somehow still looks sexy even when she’s dressedas a hooker (or is she sexy because she’s dressed that way?). GabrielByrne makes a solid impression despite the limited screen time, and JaRule and John Leguizamo are apparently only on hand to provide sometruly lame comic relief and take equal turns participating in one verygruesome beating.

    AP13 came very close to getting a two-star rating from me, but in thisday and age when action films need sci-fi, fantasy or horror elementsto succeed, there’s no denying this film is better than the usual lotchurned from Hollywood. This remake is an earnest attempt in craftingan edge-of-the-seat thriller and even if it only gets halfway there,that’s still better than most pure action movies these days.

  5. J-FLY from United States
    24 Jan 2014, 6:00 pm

    I did not think I was going to like this remake of the 1976 cultfavorite. I was, however, pleasantly surprised. The movie was fun. Thecharacters were likable. The action was well paced. The sets andbackgrounds were excellent, giving the viewer a feeling of desolationand dread that the original movie had in abundance. I originally heardthat Ethan Hawke’s character was the same as his character in "TrainingDay", but I totally disagree. Oddly enough, both characters were namedJake. So, they were both young police officers named Jake who weregoing through a rough period, but Ethan Hawke played both differently.This is not a movie to bring your kids to; too much violence. Thismight be a good date movie, but not a first date movie. All in all, Igive "Assault on Precinct 13" (2005) an A-. If you want to have fun,watch it. – JFLY

  6. krorie from Van Buren, Arkansas
    24 Jan 2014, 6:00 pm

    This is a remake of a remake and yet still packs a punch. I’ve seen theoriginal "Rio Bravo" several times, including when it first came out.It was masterfully done and was one of the Duke’s best movies from the1950’s. I saw John Carpenter’s "Assault on Precinct 13" when it firstcame out in 1976 and remember it as being one of Carpenter’s bestmovies. Now we have another version with basically the same charactersincluding the drunk, originally played by Dean Martin, who is tested bythe struggle for survival and eventually passes with flying colors.When I first heard the Christmas music in the movie, it took me amoment to grasp the reason for the Dean Martin selection until Irealized it was the producer’s way of paying homage to the crooner’sperformance in "Rio Bravo." This would be more entertaining for thosewho have not seen the originals. This remake follows the originals tothe point of spoiling some of the surprises intended. I won’t go intodetail on this since it would then spoil the surprises for those whohave not seen the originals. The story is there; the action is there;and the entertainment is there, especially for those who are seeing itfor the first time.

  7. (
    24 Jan 2014, 6:00 pm

    Keeping watch over a rundown Police Precinct on an icy New Year’s Evenight sure sounds simple enough. What could possibly go wrong? Welp,check your Action Movie Clichés Dictionary and you’ll find the answer.Problems arise when a van transporting Laurence Fishburne and otherhardened criminals to the city jail finds itself unable to traverseDetroit’s icy streets. What are the viable options? I’ll give you aclue – there is only one … DING DING DING … Take up residence atthe nearby Precinct 13 for the night.

    OK, no big deal. The night might not be as quiet as hoped for, but howhard can it be to baby-sit this group of punks? There’s John Lequizamoas the drugged out Puerto Rican. Then there’s Ja Rule as the "gangsta"who refers to himself in the 3rd person. And then there’s some chickwho is cursed to forever be recognized as "the black, manly-lookingchick who guest-starred on (fill in name of cop/forensics show)." Oh,wait. Then there’s Laurence Fishburne. The only intimidating guy in thebunch. He could be a big problem because he’s one of the most notoriousmobsters/gangsters in town.

    As expected, Fishburne does indeed become the key to everything. Itdoesn’t take long for a few masked invaders to storm the Precinct. Theywant Fishburne. The cops originally assume that it’s Fishburne’s mentrying to help him escape, but we all know that’s not the case. Roguecops haven’t been invoked yet, and rogue cops always make an appearancein an action film like this, so who’s after Fishburne? ROGUE COPS! Yousee, they’ve had some dirty dealings with Fishburne, and they feartheir corruption might be exposed if he talks. They have no choice butto eliminate him. I’m sure it was a big moral dilemma for them, but achoice had to be made.

    This is where the fun begins. Because he and his men are badlyoutnumbered, Roenick decides to arm the four prisoners. That’s cute andall, but what happens if the siege is diverted? Roenick tells theprisoners they’ll remain under arrest, and they’ll "figure it all outlater," but I’m thinking a group of armed thugs will take exception tothat, especially after helping cops survive an attack by other cops.

    Oh well, what can you do? It’s at this point that the bullets and theclichés start raining down on us harder that Ike Turner’s fists on anex-wife. You’re not gonna walk out of this movie soused withoriginality, but who cares? This is just solid, action movie fun.You’ll ooh, you’ll ahh, you’ll grimace, and you’ll make fun of thecheese. Allow me to share some of my favorite ridicule-worthy clichésfrom the movie:

    * Rogue cops magically block everybody’s cell phone signals. We’re notreally given a reasonable explanation. I guess the director thoughtthey needed to answer the "why can’t they use their cell phones to callfor help" question but neglected to realize people might wander how thesignals were blocked. It’s called movie magic.

    * Professional snipers apparently can’t hit the broadside of RosieO’Donnell’s monolithic buttocks from a few feet away. Oh, they hit allaround their targets; they just can’t hit the actual target. Myfavorite example is when a couple of the prisoners are outside hidingbehind a snow bank. The sniper can see the prisoners behind the snow,but he responds with, "I don’t have a shot." THEY’RE BEHIND SNOW! When,in the history of the world, has soft, fluffy snow ever stopped abullet? * Bad guys "monologue-ing" instead of shooting. Why do bad guysinsist on giving long speeches before killing their adversary? Thespeech is always juuuuuuust long enough to allow the adversary toescape the desperate situation he faces. Do movie bad guys not watchmovies? You’d think they’d learn.

    * A completely unsurprising plot "twist." Stevie Wonder called; he saidhe saw it coming a few miles away.

    But again, who cares? If you can buy the 5’9" 150 lb Ethan Hawke as atough guy cop, then everything else should be easy to swallow.

    One thing that I appreciated, a facet that will probably be lost on theaverage soccer mom, is the movie’s "show no mercy" attitude in regardto who gets killed and how. In movie land, the rules clearly state thatall innocent people should survive, all actors who are somewhatrecognizable should survive, and no animals are to be harmed. Clearly,Assault on Precinct 13 wasn’t made aware of these rules. I warn younow, don’t get too attached to any particular character. Everybody isfair game for a graphic bullet to the head. And if you’re squeamishwhen it comes to violence towards animals, well, keep in mind that adog actually gets punched in the face.

    I just wish there had been a better lead actor for me to cheer for.Hawke is serviceable as the head cop, but I’ve just never been a hugefan. The fact that Fishburne could obviously snap him over his knee,and I would have had no problem with that, doesn’t help. I think thebiggest thing hurting Hawke is that records confirm that the name onhis birth certificate is NOT "Tom Cruise." Someone needs to alert himof this fact and tell him to drop the impersonation.

    THE GIST Assault on Precinct 13 is an action movie for the Grand TheftAuto video game crowd. It’s loud, it’s fast-paced, it’s profane, andit’s in your face. It doesn’t pretend to aspire to be great art. Thegoal is to entertain, and the goal is achieved. If you’re squeamishwith violence, or if you’re looking for intellectual enlightenment,then I recommend looking elsewhere.

    Rating: 3.5 (out of 5)

  8. mstomaso from Vulcan
    24 Jan 2014, 6:00 pm

    Jean Richet's remake of the Carpenter thriller Assault on Precinct 13is surprisingly entertaining. Assault on Precinct 13 (2005) loses theCarpenteresque weirdness and soundtrack, and tells the story of aremote, run-down police precinct under assault using more conventionalcinematography and production. This is an achievement, but not becauseof the difficulty of following in the footsteps of Carpenter – becausethe film entertains without doing so, and because the narrative – justlike all of Carpenter's films- manages to keep going without regard forthe improbability of the plot. In other words, the Director kept astraight face and made the film entertaining enough to allow for acertain amount of suspended disbelief.

    Strong, fast, characterization – part of the legacy of Carpenter's film- makes a big difference early on. The cast is uniformly excellent andthe main characters – unusual for this genre – are all unique,believable and consistent. Fishburn plays a big bad guy incarcerated byfiat in the small, run-down Precinct 13. Hawke is the Sergeant incharge of the precinct – a man with psychological and drug problemsassociated with a traumatic event which opens the film. These twoimprobable allies must pool their resources to defend the precinctagainst… who?

    The film is first and foremost an action film. The action is typicalfor the genre as of 2005 – i.e. – much of what takes place is onlybelievable because of its entertainment value and internalconsistently. Suspense is well constructed throughout the film, and thepace of the film reaches a frenetic level about 1/3rd of the waythrough, never letting up. The cinematography is surprisinglydissimilar to the original. Richet's film is more of a standardsuspense thriller than anything bearing Carpenter's signature.

    Recommended for its entertainment value, solid cast, andwell-constructed (though somewhat ridiculous) plot.

  9. info-11400 from Germany
    24 Jan 2014, 6:00 pm

    Why remake the original "Assault"? To my mind "Assault" was Carpenter'strue masterpiece. It had all the elements good Carpenter moviescontain. External threat on a small group of individuals. People takingthe challenge because they are forced to do so. Isolation! Justremember, the guns in Carpenter's original made no sound, being thus alot more threatening than conventional devices. And now this remake.Concentrating on "main character I"s psychology and on his relation tomain character II (the evil but honorable). The anonymous threat in theCarpenter movie replaced by a rather conventional conspiracy/corruptionbackground. The "remakers" just didn't understand the main plot of theoriginal. And thus produced something pretty ordinary.

  10. larsthebellhop ( from Gilleleje, Denmark
    24 Jan 2014, 6:00 pm

    I didn’t have much hope for this when I when went to Copenhagen to seethis remake of the ’76 film, which isn’t a masterpiece itself, buthighly entertaining and one of Carpenter’s best.

    So when I came out of the theater, I wasn’t that disappointed. It wasas bad as I thought it would be. Hollywoodized for the average viewer’senjoyment. Quick cuts and flashy shots. It doesn’t take its time totell the story.

    One of the problems is the clichés. I almost laughed when Jasper (BrianDennehy) said "I’m retiring in two days", or something of the sort. Youjust know that he’ll be dead before the credits roll. Also, even thebiggest retard in the audience can figure out halfway through the moviethat he’s a bad guy.

    Another thing is that the situation is not believable. In the original"Assault" it was crazed gang members that was attacking the station,but now it’s 33 top trained S.W.A.T. members. No way can 8 people holdthem off. But I guess it’s the corrupt cop’s (played by a very dullGabriel Byrne) own damn fault; First he sends three S.W.A:T.’s in totake care of business, and when they get killed off, what does he dothen? He sends in three more! If he would just send in all their guysat once, Ethan Hawke and co. would be dead and buried 45 minutes intothe film and I wouldn’t have missed my train home.

    And that brings me to the likable characters. There aren’t any. WhenBeck, a paranoid junkie who won’t shut up, is the most likable of thebunch, you know it’s bad. For instance, there’s the annoying, playboypin-up psychologist. Or the convict who refers to himself in the thirdperson (how totally funny). Laurence Fishburne does what he can withthis, but I’m getting tired of him.

    And Ja Rule does an extremely poor job. Why do people keep hiringrappers/singers in movies? They don’t make good actors, with fewexceptions like Meat Loaf’s Bob in Fight Club and Björk’s Selma inDancer in the Dark.

    This remake doesn’t have the charm or watch-ability as the original"Assault" has, and Lars doesn’t like that.


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