Composite Score: 83.23

Starring: Austin Stoker, Darwin Joston, Laurie Zimmer, Martin West, Tony Burton, Charles Cyphers, Nancy Kyes, and Kim Richards

Director: John Carpenter

Writer: John Carpenter

Genres: Action, Crime, Thriller

MPAA Rating: R

Box Office: Unknown

Why should you Watch This Film?

                Assault on Precinct 13 is John Carpenter’s film based on Rio Bravo about a police officer, two criminals, and a secretary who have to defend a defunct police precinct in L.A. from a gang that wants revenge on the man who killed one of their members and took shelter at the closing office. It is a classic action thriller with plenty of tension and gunplay to satisfy any and all fans. The film has attained cult classic status thanks to Carpenter’s music and direction in the film and the leading performances by Austin Stoker and Darwin Joston as Ethan Bishop and Napoleon Wilson. The underlying themes of police violence, poverty, gang mentalities, and even racism/classism add to the film and elevate it to its place on this list.

Why shouldn’t you Watch This Film?

                There is a very cursory version of this film that comes across as aggressively pro-militarized police. I don’t think that was at all John Carpenter’s vision for Assault on Precinct 13, and a closer watch would seem to indicate that the whole thing could have been avoided if the police weren’t armed to the teeth and killing every criminal with whom they came into contact. That being said, the film’s premise of a crazed gang with a death wish attacking a defunct police precinct being defended by a first day cop, a secretary, and a couple of prisoners can come across as perhaps a bit more copaganda-y than is intended. I guess the takeaway here is to not watch it just as a mindless action flick because your takeaway might not be the most uplifting. You’ve got to go into this one ready to engage with the issues head-on and with a more updated perspective.

So wait, why should you Watch This Film?

                All that being said, Assault on Precinct 13 is about as good an action movie (non kung fu) that they could make pre-1990s. Its story is simple and easy to follow. Its characters are just complex enough to not be pure caricature. Its stakes are clear from start to finish. You care about the development of the different characters. And most importantly, the action hits hard and keeps you engaged and generally on the edge of your seat. It’s just outlandish enough to feel grounded in reality but clearly fictional. In some ways, Assault feels like a spiritual predecessor to directors like Quentin Tarantino, Guy Ritchie, Matthew Vaughn, and Edgar Wright – delivering strong violence in a way that is just outlandish enough for the viewers to recognize it for the satire that it is while still having a good time. Those directors have obviously veered away a bit from the simplicity of Precinct 13, but its fingerprints are very much still present in their work.

                For all of its outlandish action, Assault on Precinct 13 is also commendable for the way it touches on certain relevant issues like policing, overly weaponized police forces, and the impact that type of policing can have on increased violence in communities. People who come to this film looking for more than just its action won’t leave disappointed, in other words. From the opening scene of teens getting gunned down in an alley into the radio report that calls it a “shootout”, it is clear what the background and messaging of this film truly are, barely ten years removed from the “Watts riots”.

                Assault on Precinct 13 is an action film that gets a lot of things right – its succinctness, thrilling action, decently memorable leads, and an engagement with relevant issues all go a long way in helping make the film as great as it is, elevating the cult classic. Though a simpler watch of the film might lead you to believe that John Carpenter was in favor of arming police even beyond what they already are, a closer viewing will soon reveal the truth about the criticism that the filmmaker was attempting to level with this film. It is currently available to stream via Showtime subscription on Paramount+ or to rent on most other streaming services for those looking to check it out.