Let me get this out of the way right at the top: I LOVE this movie.
The narrative thrust of 'Escape from L.A.' very much echoes that of 'Escape from New York': Snake Plissken, antisocial antihero, is the only person that can get the job done, so the government sends him in with the promise of a pardon (and the threat of an unpleasant demise) to retrieve an all-important person or item. Along the way he encounters many denizens and dangers of the new society created in the sequestered ruins of the old, makes new enemies and new friends, and returns with ever more spite in his one beautiful blue eye. With every step, we in the audience are treated to exciting action, witty dialogue, and fantastic performances.
While there are certainly enough differences to make this a new film all its own, make no mistake that EFLA is like watching its classic, rightly adored predecessor through a funhouse mirror. The main musical theme itself is but a re-imagined version of EFNY's, and the moment it begins playing over the opening credits, you know exactly what you're in for. The very first time I watched this movie, I laughed giddily at the obvious wink.
'Escape from L.A.' is a movie that knows exactly what it is, makes no apologies for being over the top, and runs with it from start to finish. From surfing the ruins with Peter Fonda to hang-gliding over an amusement park alongside Pam Grier; from Bruce Campbell's creepy cabal of near-cannibalistic, overtly satirical caricatures to Steve Buscemi's happy-go-lucky, duplicitous gopher and guide; from the George Corraface's Basketball Court of Death to the dystopian welcome home by the US President For Life Cliff Robertson: this is a fun, silly movie, portraying a serious narrative, rounded out with very non-serious scenes, that winks and smiles at the audience and dares you to dislike it.
What a cast! I don't need to list them all, though I already mostly have; just scroll through the names and it's a veritable who's who of cinema of the mid-90s. And we get still more of Carpenter's regular collaborators, including the ubiquitous and lovable Peter Jason, the unmistakable Al Leong... and, of course, Kurt Russell, returning to form with Snake Plissken and giving the action antihero a palpable air of tired spite. Russell plays the character with such convincing disdain and moral exhaustion that even as we laugh at the ridiculousness of the scenarios he finds himself in, our protagonist anchors the film with resounding, defiant contempt.
Costumes, lighting, sets, props, effects--at worst they play directly into EFLA's nearly parodic intent, but mostly they are spot-on and make this movie as believable as it could want to be.
I love Carpenter's score, and the music by popular artists selected to round out the soundtrack. I love Debra Hill's production. I love the screenplay, accordingly co-written by Carpenter with Hill and Russell.
By no means is this for everyone. Several years before the misunderstood deadpan brilliance of 'Ghosts of Mars' cemented how very little people understand John Carpenter, EFLA dropped a pretty big hint. The storied writer, director, producer, and composer began his career with a less than serious film, and throughout his many features has masterfully guided us through genres including horror, sci-fi, thriller, comedy, and even romance. Ten years after undisputed classic 'Big trouble in Little China,' the release of 'Escape from L.A.' nonetheless perplexed many with questions of "What is this guy doing?"
The answer is: The same thing he'd always been doing. Folks just don't pay attention.
If you watch 'Escape from L.A.' expecting a no-nonsense, serious-minded thriller or action flick, you will be disappointed. You don't have to be a John Carpenter devotee to appreciate it, though it doesn't hurt; you don't have to be entirely in on the joke, though it helps. Just keep your mind open, relax, and enjoy the show.
Welcome to the human race.
The narrative thrust of 'Escape from L.A.' very much echoes that of 'Escape from New York': Snake Plissken, antisocial antihero, is the only person that can get the job done, so the government sends him in with the promise of a pardon (and the threat of an unpleasant demise) to retrieve an all-important person or item. Along the way he encounters many denizens and dangers of the new society created in the sequestered ruins of the old, makes new enemies and new friends, and returns with ever more spite in his one beautiful blue eye. With every step, we in the audience are treated to exciting action, witty dialogue, and fantastic performances.
While there are certainly enough differences to make this a new film all its own, make no mistake that EFLA is like watching its classic, rightly adored predecessor through a funhouse mirror. The main musical theme itself is but a re-imagined version of EFNY's, and the moment it begins playing over the opening credits, you know exactly what you're in for. The very first time I watched this movie, I laughed giddily at the obvious wink.
'Escape from L.A.' is a movie that knows exactly what it is, makes no apologies for being over the top, and runs with it from start to finish. From surfing the ruins with Peter Fonda to hang-gliding over an amusement park alongside Pam Grier; from Bruce Campbell's creepy cabal of near-cannibalistic, overtly satirical caricatures to Steve Buscemi's happy-go-lucky, duplicitous gopher and guide; from the George Corraface's Basketball Court of Death to the dystopian welcome home by the US President For Life Cliff Robertson: this is a fun, silly movie, portraying a serious narrative, rounded out with very non-serious scenes, that winks and smiles at the audience and dares you to dislike it.
What a cast! I don't need to list them all, though I already mostly have; just scroll through the names and it's a veritable who's who of cinema of the mid-90s. And we get still more of Carpenter's regular collaborators, including the ubiquitous and lovable Peter Jason, the unmistakable Al Leong... and, of course, Kurt Russell, returning to form with Snake Plissken and giving the action antihero a palpable air of tired spite. Russell plays the character with such convincing disdain and moral exhaustion that even as we laugh at the ridiculousness of the scenarios he finds himself in, our protagonist anchors the film with resounding, defiant contempt.
Costumes, lighting, sets, props, effects--at worst they play directly into EFLA's nearly parodic intent, but mostly they are spot-on and make this movie as believable as it could want to be.
I love Carpenter's score, and the music by popular artists selected to round out the soundtrack. I love Debra Hill's production. I love the screenplay, accordingly co-written by Carpenter with Hill and Russell.
By no means is this for everyone. Several years before the misunderstood deadpan brilliance of 'Ghosts of Mars' cemented how very little people understand John Carpenter, EFLA dropped a pretty big hint. The storied writer, director, producer, and composer began his career with a less than serious film, and throughout his many features has masterfully guided us through genres including horror, sci-fi, thriller, comedy, and even romance. Ten years after undisputed classic 'Big trouble in Little China,' the release of 'Escape from L.A.' nonetheless perplexed many with questions of "What is this guy doing?"
The answer is: The same thing he'd always been doing. Folks just don't pay attention.
If you watch 'Escape from L.A.' expecting a no-nonsense, serious-minded thriller or action flick, you will be disappointed. You don't have to be a John Carpenter devotee to appreciate it, though it doesn't hurt; you don't have to be entirely in on the joke, though it helps. Just keep your mind open, relax, and enjoy the show.
Welcome to the human race.