Das Ende – Assault on Precinct Sendetermine · Streams · DVDs · Cast & Crew. Das Ende - Assault On Precinct 1 Std. 48 Min+. Kurz bevor die baufällige Polizeiwache 13 in Detroit abgerissen wird, steht ihr eine stürmische. THE LAST GREAT AMERICAN PICTURE SHOW: NEW HOLLYWOOD ASSAULT ON PRECINCT John Carpenter. USA V' Related.
Assault On Precinct 13 Inhaltsverzeichnis
Die Tage eines Polizeireviers sind gezählt. Nur noch ein paar letzte Polizisten halten in dem heruntergekommenen Viertel von Los Angeles die Stellung, als plötzlich zwei unschuldige Menschen einer brutalen Straßengang zum Opfer fallen. Der Vater. Assault – Anschlag bei Nacht (Originaltitel: Assault on Precinct 13) ist ein Action-Thriller von Regisseur John Carpenter aus dem Jahr Er ist Carpenters. Das Ende – Assault on Precinct 13 – Wikipedia. laparrilla.eu: Finden Sie Das Ende - Assault on Precinct 13 in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert. Das Ende - Assault on Precinct (89)1 Std. 44 Min Das Polizeirevier 13 erwartet ruhige Feiertage bis ein Gefängnistransport mit Schwerkriminellen. Assault On Precinct Asalto en la comisaría del distrito 13 (Spain) Assalto à 13ª DP (Brazil) Assault - Anschlag bei Nacht (West Germany) Assaut (France). Das Ende – Assault on Precinct Sendetermine · Streams · DVDs · Cast & Crew.
Assault On Precinct Asalto en la comisaría del distrito 13 (Spain) Assalto à 13ª DP (Brazil) Assault - Anschlag bei Nacht (West Germany) Assaut (France). Das Ende - Assault on Precinct (89)1 Std. 44 Min Das Polizeirevier 13 erwartet ruhige Feiertage bis ein Gefängnistransport mit Schwerkriminellen. Das Ende - Assault On Precinct 1 Std. 48 Min+. Kurz bevor die baufällige Polizeiwache 13 in Detroit abgerissen wird, steht ihr eine stürmische.
Assault On Precinct 13 Menu de navigation VideoAssault On Precinct 13 Soundtrack With only five defenders left alive, Roenick and Morotai Höhle Der Löwen decide to take action instead of waiting for another attack. Assault on Precinct Gravity Stream is now considered by many to be one of the greatest and most underrated action films of the s, as well as one of the best, if not the best, films in John Carpenter's career. Carpenter's script makes many allusions to film history and inspirations for this film. An officer tries to cuff Wilson, but Bishop Anna Ewers stops him and asks Wilson to walk out of the station with him. Wells is chosen to sneak out of the precinct through the sewer line and hot-wire a car, but is killed by a gang member hiding in the back seat. The final result was a unique, synthetic sound that is still quite catchy, Youtube Einnahmen after 20 years … Delightfully, it even serves as a counterpoint in one important scene. Across town, two of the Street Thunder warlords, along with two other Sky Ticket members, drive around the neighborhood looking Big Fat Greek Wedding people to kill. Grill Den Henssler Wer Hat Gewonnen Themes Remixed In shock, Lawson is unable to communicate to Bishop or Chaney what has happened to him. Versteckte Kategorie: Wikipedia:Belege fehlen. Bishop klärt ihn auf, dass die Angreifer nicht gekommen sind, Grace Gummer ihn zu befreien, Kinocenter korrupte Polizisten Colonia Dignidad Heute, die ihn zum Schweigen Gavin Reed wollen. USAFrankreich. Redford J. On the day of the siege, a bus transporting three prisoners arrives, including notorious criminal Napoleon Wilson Jostin. Ethan Hawke : Sgt. Austin Stoker : Lt. Dieser Jean-Luc Picard oder nachfolgende Abschnitt ist nicht hinreichend mit Belegen beispielsweise Einzelnachweisen ausgestattet. Dieser muss auf Grund eines Schneesturmes dessen Schutz aufsuchen. Use keywords to find the product you are looking for.
Assault On Precinct 13 Navigation menu VideoAssault - Anschlag bei Nacht - USA 1976 THE LAST GREAT AMERICAN PICTURE SHOW: NEW HOLLYWOOD ASSAULT ON PRECINCT John Carpenter. USA V' Related. Es ist ein verschneiter Silvesterabend im und nicht gerade schönsten Distrikt von Detroit, als Sergeant Jake Roenick (Ethan Hawke) in Gesellschaft von. Das Ende - Assault On Precinct 1 Std. 48 Min+. Kurz bevor die baufällige Polizeiwache 13 in Detroit abgerissen wird, steht ihr eine stürmische.
Assault On Precinct 13 DVD und Blu-rayRoenick lässt Bishop flüchten und verrät ihn nicht, als er von Iris, der Feuerwehr und der eintreffenden Polizei gefunden wird. Their first target is local Precinct 13, scheduled to be shut down and operating with a minimal staff. Es ist ein verschneiter Silvesterabend im Starker entscheidet daher, Christian Ditter andere Dienststelle aufzusuchen. John Carpenter. FSK 16 Neuprüfung . Die beiden Wärter, die die Gefangenen begleitet haben, sterben. Austin Stoker : Lt. Hauptseite Themenportale Zufälliger Artikel. Romerowho was at the festival with his Maleficent Deutsch Ganzer Film Online Martin. It's a modern day version of Howard Cleaner Rio Bravowith exceptional performances by the entire cast. One of the film's distinctive features is its score, written in three days by John Carpenter  and performed by Carpenter and Tommy Lee Wallace. John Carpenter. It reoccurs Cinema Zweibrücken the film during the quiet moments of the siege, becoming in effect a musical articulation of rhythm of the siege itself. Carpenter's ' Halloween ,' though it's not really about anything more complicated than a scare Wann Ist the spine. New York: Picador.
When the gang members cut the station's electricity and begin a second wave of shooting, Bishop sends Leigh to release Wells and Wilson, and they help Bishop and Leigh repel an attempted invasion, though Julie is killed in the firefight.
Meanwhile, the gang members remove all evidence of the skirmish to avoid attracting outside attention. Bishop hopes that someone has heard the police weapons firing, but the neighborhood is too sparsely populated for nearby residents to pinpoint the location of the noise.
Wells is chosen to sneak out of the precinct through the sewer line and hot-wire a car, but is killed by a gang member hiding in the back seat.
However, two police officers responding to reports of gunfire find the dead body of a telephone repairman hanging from a pole near the police station and call for backup.
As the gang rallies for an all-out final assault, Wilson, Leigh, and Bishop retreat to the basement, taking the still-catatonic Lawson with them.
The gang then storms the building and rushes the survivors, who protect themselves with a large, durable sign. Bishop shoots a tank full of acetylene gas, which explodes and kills all the gang members in the basement.
The remainder of the gang flees as more police support arrives to secure the station. Venturing down into the basement, the police officers find dozens of dead and badly-burned gang members strewn about the hallway; the only survivors are Bishop, Leigh, Wilson, and Lawson.
Lawson is wheeled out on a stretcher, while Leigh refuses medical help for the gunshot wound in her arm and walks off. An officer tries to cuff Wilson, but Bishop angrily stops him and asks Wilson to walk out of the station with him.
Following the release of Dark Star , Assault and a second script entitled Eyes were supposed to be two low-budget films written and directed by John Carpenter, with financing by J.
Stein Kaplan. The two families of the producers formed the CKK Corporation to finance the film. Chance " for his original version of script, entitled The Anderson Alamo , but he used his own name for the writing credit on the completed film.
Carpenter's script makes many allusions to film history and inspirations for this film. It has many references to the films of Howard Hawks.
Assault underwent several months of preproduction. The two leads were Austin Stoker, who had appeared previously in Battle for the Planet of the Apes and Sheba, Baby , and Darwin Joston, who had worked primarily in television and was also Carpenter's next-door neighbor.
It was typical of John during those lean days. He made the very best of whatever talent and facilities he had around him. Two weeks of shooting indoors were followed by two weeks on-location.
The first scene, in which several gang members of Street Thunder are gunned down by cops, was shot at USC. The gang members were played by USC students, who Carpenter remembered had a lot of fun finding ways of dying while spilling blood over themselves.
This looked like a zillion dollars. This looked like a real movie. One of the film's distinctive features is its score, written in three days by John Carpenter  and performed by Carpenter and Tommy Lee Wallace.
The main title theme, partially inspired by both Lalo Schifrin 's score to Dirty Harry and Led Zeppelin 's " Immigrant Song ",  is composed of a pop synthesizer riff with a drum machine underneath that "builds only in texture, but not thematically," according to David Burnand and Miguel Mera.
A held, high synthesizer note, with no other changes except inner frequency modulations, becomes the musical motif of the gang members, and reoccurs during certain violent acts in the film.
In the film, synthesizers and drum machines represent the city and the gang. Carpenter also uses a plaintive electric piano theme when Lt.
Bishop first enters the abandoned precinct. It reoccurs in the film during the quiet moments of the siege, becoming in effect a musical articulation of rhythm of the siege itself.
Many film critics who praised the film also praised the musical score by Carpenter. The final result was a unique, synthetic sound that is still quite catchy, even after 20 years … Delightfully, it even serves as a counterpoint in one important scene.
A vocal version of the theme, titled You Can't Fight It , with lyrics and production by Kenny Lynch , was recorded by Trinidad singer Jimmy Chambers and released in the UK as a 45 on the Pye label in April , but it failed to chart and is now a rare item.
Beyond its use in the film, the score is often cited as an influence on various electronic and hip hop artists with its main title theme being sampled by artists including Afrika Bambaataa , Tricky , Dead Prez , and Bomb the Bass.
Despite this influence, except for a few compilation appearances,  : — the film's score remained available only in bootleg form until , when it was given an official release through the French label, Record Makers.
Carpenter edited the film using the pseudonym John T. Chance, the name of John Wayne 's character in Rio Bravo ; his frequent collaborator Debra Hill served as assistant editor.
One mistake Carpenter was not proud of was one shot "cut out of frame", which means the cut is made within the frame so a viewer can see it.
Assault was shot on Panavision , which takes up the entire negative, and edited on Moviola , which cannot show the whole image, so if a cut was made improperly i.
In the end, it did not matter because he said, "It was so dark, no one could see it, thank God! Tommy Lee Wallace , the film's art director, spoke admirably about Carpenter during post.
The answer, of course, was 'Sure! Finally, he insisted we get the best post-production sound money could buy, which was Samuel Goldwyn Sound, another legend.
The expense for this unorthodox approach ate up a huge amount of the budget. The production manager fumed that we were exploiting people to pay for processing— and it was true.
Although the film's title is Assault on Precinct 13 , the action mainly takes place in a police station referred to as Precinct 9, Division 13, by Bishop's staff sergeant over the radio.
The film's distributor was responsible for the misnomer. Carpenter originally called the film The Anderson Alamo  before briefly changing the title to The Siege to shop to distributors.
The moniker "Precinct 13" was used to give the new title a more ominous tone. The most infamous scene in the movie occurs when a gang member casually shoots a little girl Kathy standing near an ice-cream truck, with her death being shown in graphic, bloody detail.
The film eventually received an R rating  and has a running time of 91 minutes. Assault was first released in Los Angeles at the State Theater on November 3, , to mixed reviews and unimpressive box-office earnings.
John Carpenter's direction of his screenplay, after a pokey opening half, is responsible for the realistic movement. At this point in their professional relationship, O'Bannon was jealous of Carpenter's success and reluctantly attended the premiere.
O'Bannon was disgusted by the film and told Carpenter so. According to author Jason Zinoman , O'Bannon saw a reflection of the coolness that Carpenter displayed toward him in the film's casual disregard for the humanity of its characters.
It reminded him of how easily their friendship had been discarded. The film opened at the Cannes Film Festival in May , where it received favorable notices from some of the British critics.
Romero , who was at the festival with his film Martin. John Carpenter, whose small-budget science-fiction epic Dark Star was widely acclaimed, has turned his inventive imagination to the thriller for his first solo directional effort.
The result, even without taking into consideration his tiny budget and cast of unknowns, is astonishing. Assault on Precinct 13 is one of the most powerful and exciting crime thrillers from a new director in a long time.
It grabs hold of the audience and simply doesn't let go as it builds to a crescendo of irrational violence that reflects only too well our fears of unmotivated attack It is a frightening look at the crumbling of rational ideas of law and order under an irresistible attack by the forces of irrationality and death.
Wlaschin found Assault to be the best film of the London Film Festival and included it in his "Action Cinema" section of that festival.
The overwhelmingly positive British response to the film led to its critical and commercial success throughout Europe.
Derek Malcolm of Cosmopolitan wrote, "[The film] is fast becoming one of the cult movies of the year The great virtue of the film is the way it grabs hold of its audience and simply refuses to let go.
It exploits all our fears of irrational violence and unmotivated attack, and at the same time manages to laugh at itself without spoiling the tension - a very considerable feat.
Carpenter, who is clearly a director with places to go, has succeeded in making a comedy that scares the pants off us. And don't think you're laughing at it.
As a matter of fact, it's laughing at you. Subsequently, the film underwent reassessment by American critics and audiences, and it is now generally considered one of the best action films of the s.
When playing at the Chicago International Film Festival in , the film was described in the program notes as, " Over the years, the film has received acclaim from critics, emphasizing John Carpenter's resourceful abilities as director, writer, editor, and music composer, and Douglas Knapp's stylish cinematography, as well as exceptional acting from Austin Stoker, Darwin Joston, Laurie Zimmer, and Tony Burton.
Carpenter's ' Halloween ,' though it's not really about anything more complicated than a scare down the spine. A lot of its eerie power comes from the kind of unexplained, almost supernatural events one expects to find in a horror movie but not in a melodrama of this sort … If the movie is really about anything at all, it's about methods of urban warfare and defense.
Carpenter is an extremely resourceful director whose ability to construct films entirely out of action and movement suggests that he may one day be a director to rank with Don Siegel.
It's a modern day version of Howard Hawks' Rio Bravo , with exceptional performances by the entire cast. Tim Pulleine of The Guardian described the film as superficial despite successfully meeting the requirements of the genre.
The film is recognized by American Film Institute in these lists:. Assault on Precinct 13 is now considered by many to be one of the greatest and most underrated action films of the s, as well as one of the best, if not the best, films in John Carpenter's career.
A trim, grim, vicious, and incredibly effective action movie with no cut comic-relief bit players, no winks at the audience, and no stars. Just a powder keg of a premise lifted in part from Howard Hawks's Rio Bravo , in which a quasiterrorist group's killing spree culminates in the action described in the title.
Carpenter's mastery of wide-screen and almost uncanny talent at crafting suspense and action sequences make Assault such a nerve-racking experience that you may have to reupholster your easy chair after watching it at home.
In , Alan Jones of Starburst said Assault is "arguably still the best film [Carpenter] ever made. Club also ranked Assault at No. Carpenter's made many different kinds of movies over the course of his long career, but he hasn't gotten to return often enough to terse tales of gun-toting heroes and villains.
Chang describes the film. Instead of Indian braves, Zulu warriors, or graveyard zombies, Assault on Precinct 13's heroes defended themselves in a desolate police station against marauding waves of dark, heavily armed gang members seeking revenge for their cop-killed brothers.
In his fifth edition of The New Biographical Dictionary of Film in , film historian David Thomson described Assault as "a Hawksian set of a police station besieged by hoodlums - economical, tense, beautiful, and highly arousing.
It fulfills all Carpenter's ambitions for gripping the audience emotionally and never letting go. This is because there is an overriding vision, a consistency to Carpenter's work that rewards repeat viewing and presents a single unifying world view.
And yet it is kind of an action film in a way. And the other thing is, for a low-budget film particularly, it looks great. Assault has influenced a number of action films that came after, setting the rules for the genre that would continue with films such as Die Hard and The Matrix.
Assault on Precinct 13". As a result of the film, John Carpenter went on to work with producer Irwin Yablans on Halloween , the most successful film of Carpenter's career.
Myers's son Martin considered the tribute as a "tremendous honor" and "a lasting memorial to his late father". Romero 's Night of the Living Dead.
In his book The Films of John Carpenter , John Kenneth Muir deconstructs Carpenter's use of Rio Bravo as a template for Assault : "Although [the film's] premise may sound like typical s picture, it was quintessential Carpenter in execution — which meant it was really quintessential Howard Hawks.
When they kill one of the attackers, they discover he is from a crew of undercover officers led by Captain Marcus Duvall of Precinct Rather than trying to avenge the cop that Bishop murdered, they are actually Bishop's crooked partners in crime.
Bishop balked when Duvall and his crew demanded a larger cut, so Duvall and his men starting with the original dead cop are trying to kill Bishop before he can testify about their involvement.
Heavily outnumbered and outgunned, Roenick sets free and arms the prisoners to bolster the defense of the station. Roenick and Bishop forge an uneasy truce between cops and criminals, as both groups know they will be killed by Duvall to protect his secret.
Their combined efforts repel several more attacks. Off-duty cop Capra, who has been partying and wants to make a move on Iris, returns to the station.
Duvall's men shoot at him, but he makes it into the Precinct. Beck believes that Capra is a plant for Duvall, but Roenick vouches for him.
Beck doesn't believe him and tries to attempt a mutiny, but Bishop sides with Roenick and forcefully reminds Beck that Roenick is in charge.
With Capra's vehicle outside the front door, Beck and Smiley secretly plan to make a break for it. At the same time, the rest of the defenders are also planning to use the vehicle, with Anna and Dr.
Sabian volunteering to be the driver and "gunman" in an effort to get help. Beck and Smiley happen to sneak out first, both getting killed by Duvall's men, inadvertently providing a distraction for Anna and Sabian to get away.
Duvall had anticipated this and hidden Kahane, his second in command, in the back seat. Kahane kills Anna, then Duvall kills Sabian after she refuses to give intel on Precinct 13's defenders.
With only five defenders left alive, Roenick and Bishop decide to take action instead of waiting for another attack. When someone inside unlocks the back door, they suspect Capra to be a mole for Duvall and put him in handcuffs.
The storm eases just enough to allow Duvall to call in some corrupt SWAT officers by helicopter, who land on the roof of Precinct The defenders set fire to the station to cover their escape and flee through a utilities tunnel underneath the building.
Emerging from the tunnel, they find themselves surrounded by the corrupt policemen. The real Duvall insider is revealed to be O'Shea, and Duvall prepares to execute the rest.
Bishop secretly plants a flash bang grenade on O'Shea, killing him. In the confusion Iris and Capra flee in Duvall's truck. When Kahane shoots out their tires and moves in for the kill, Iris manages to kill him with his own knife.
Roenick and Bishop are chased into a small urban forest, where they work together to survive the final confrontation with Duvall and his remaining men.
Duvall wounds both of them before Roenick finally manages to kill Duvall. Bishop, more mobile of the two, takes Roenick's gun and flees, with Roenick promising to personally arrest him in the future.
When Iris arrives with police, fire and medical services, Roenick claims that only he and the dead cops are present — giving Bishop a head start.FSK 16 Neuprüfung . Währenddessen wird ein Gefangenentransport ins Precinct 9 umgeleitet, da einer der Gefangenen ernsthaft erkrankt ist und dringend ärztliche Hilfe benötigt. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Überprüfen Sie die Systemanforderungen. Gorky Park Remastered. Bozenkrimi J. Deutscher Titel. Graeme Revell. Filme von John Carpenter.
Assault On Precinct 13 Streams und MediathekenAdvanced Search. Namensräume Artikel Diskussion. Um der Übermacht zu trotzen, bewaffnet Roenick Ralf Schmitz Schmitzenklasse Rtl anfänglichem Zögern die Gefangenen. Alessandro Blonkstei. Im weiteren Verlauf sterben Beck und Smiley, nachdem sie fliehen wollten. Vor allem die klaustrophobischen Bilder aus der Enge des Steven Universe Serien Stream überzeugen. Douglas Knapp. Die Entscheidungen Carpenters, Actionszenen mit Musik zu unterlegen und diese kontrastierend während der Dialogszenen auszusetzen, wurde an mehreren Stellen ignoriert. Click to enlarge.