Slaughter Film Presents: Action Movie Time Machine - Escape From New York

ACTION MOVIE TIME MACHINE 

“Escape From New York”

                                                CLASSIC BAD-ASSERY

Welcome back to another trek on the “Action Movie Time Machine”. Last time we met, we visited some of John Carpenter's earlier work, “Assault on Precinct 13“. This time we are going to witness Kurt Russell in one of his most bad ass roles, as Snake Plisskin. Talk about “Expendables” eligibility. It would be a shame if Sylvester Stallone over looks Russell for “Expendables 4: Return of the R Rating”.

The year is 1981. IBM had just released the first personal computer capable of running Microsoft's Disc Operating System (DOS). MTV hits the airwaves, debuting with "Video Killed the Radio Star". U.S. President Ronald Reagan signs the top secret directive authorizing the CIA to recruit and support Contra rebels in Nicaragua. While all this was happening, Snake Plisskin is sent to Manhattan to rescue the President in “Escape From New York”.

THE SKINNY
The year in 1997, and United States is a war torn police state. With all the crime and violence of this futuristic America, extreme measures had to be taken. New York's Manhattan Island has been transformed into THE high security prison of the nation. Just think of Alcatraz, but on steroids. There are no cells and no guards. The prisoners are free to roam the city streets and do whatever is necessary to survive. And once you go in, there is no coming back out. The bridges are mined and the waters are patrolled and protected by the National Police Force, a para-military like group responsible for keeping convicts from escaping, by any means necessary.

This is all fine and well until a member of the “National Liberation Front”, a terrorist organization, takes over Air Force One and crash lands the plane on the prison island. The idea being that the president, if he survives, will now have to get by as the convicts do within the confines of the prison that he unlawfully created.

It is at this time that Hauk, Chief of National Police played by Lee Van Cleef, brings in the recently arrested Snake Plisskin, Kurt Russell. Snake is a former military hero who has become tired of his leaders sending him on suicide missions that he always manages to narrowly escapes. He goes AWOL and becomes a criminal. Robbing the national reserve is what gets him caught.

Fearing that the President may be harmed if there is a military rescue mission, Hauk decides to send in a loan wolf. It becomes Snakes' mission to sneak onto the island, locate and rescue the President, Donald Pleasence, as well as the documents and cassette tape that the President has with him. Then return all of the above to Hauk. If he does, Hauk will erase Snake's criminal record forever. If he doesn't, he will die.

In prep for the mission, a doctor injects two micro-explosive charges into Snake's arteries. If he isn't back with the president in under twenty three hours, the charges will blow, rupturing Snake's arteries and he will internally bleed to death.

Snake uses a glider to enter the island, which he lands on the roof of one of the World Trade Towers. He begins to search the city for the President and it isn't long before he begins to realize just how fucked this place is. The city is littered with murderers and rapists, there are crazy cannibal hobos who live in the sewer who come up at night to feed, and the locals are less than pleasant to out of town motorists such as our boy Snake.



Things get tense when the cannibalistic sewer dwellers try to have Snake for dinner, but fortunately for him Cabbie, Ernest Borgnine, shows up in his taxi armed to the teeth with molotovs. Snake questions Cabbie and learns that the President is alive and has been captures by The Duke of New York, Isaac Hayes. The Duke is the supreme ruler of the prison island and is planning to use the President as leverage as he makes his way across the bridge and into the free United States.

Through the help of Cabbie, “The Brain”, the Duke's nerdy adviser, and Maggie, The Brain's concubine, Snake manages to get inside The Duke's compound and is thrown into a one-on-one in a gladiatorial battle to the death against pro-wrestler Ox Baker. This offers up a good distraction, as everyone would is eager to watch the legendary Snake Plisskin take on The Duke's undefeated monster bruiser. This distraction affords The Brain and Maggie a chance to help the President escape.

After burying a nail covered bat in the back of Baker's head, Snake catches up with The Brain, Maggie, the President and Cabbie, and together they make it to the Brooklyn Bridge. The only thing that stands between them and the free states are the countless mines that litter the bridge. To make matters worse, The Duke and his men arrive to foil their prison break and get out themselves.

As the clock ticks away, they fall one by one. Either by the hands of the other group or by the mines. Finally Snake, The Duke and the President find the wall that blocks the far end of the bridge. Beaten and exhausted, Snake engages the final boss and it seems like a losing battle. Just when hope seems lost, the President of all people, blows The Duke away. Way to pull your own weight Mr. President.

With the President rescued and Snake's micro-explosives are deactivated, Snake commits one final act of rebellion. Remember that cassette tape that was so important? Well, on it was an explanation of how to create nuclear fusion that the President was going to share with the world. A gesture that would end the war. Our ol' pal Snake had other ideas. He switched the tape with one he found in Cabbie's taxi. As the President speaks live via satellite to the entire world, swing music can be heard instead of the recipe for cheap nuclear power. Please allow me to “slow clap” for Snake as the credits begin to roll.

THE VERDICT
Movies like “Escape From New York” really became defining of the '80s. So many films from the era were dark, dirty, violent and bleak. I love 'em! Crime was on the rise, people thought Satanic cults were sacrificing babies and there was the ever present threat of total and complete annihilation brought on by soviet nukes. It was a good time for movies, and for thrash metal.

One of the strengths of this film, is also one of it's weaknesses. This strength/weakness is Snake's twenty four hour time limit. Every time I watch this movie, I distract myself from it by wondering what the rest of the United States is like. It's mentioned that the country is at war, but with who? What about other criminal factions within in island? How involved is the “National Liberation Front”?, ect... I feel that these ideas would have been explored if the story were allowed to unfold more organically. But instead, it is forced along by the deadline. This is fine, but I just wish there was more. So many things are referenced or off handily mentioned. There is a whole world here and I want to learn about it.

In “Escape From New York”, we see another one of Carpenter's unlikely heroes facing unimaginable odds of carrying out a plan of which he is thrust into. Snake is a strong silent type, who again, manages to be relatable. An “everyman” who appeals to it's male viewers, and even maybe a little to it's female viewers. After all, Snake is pretty dreamy. I think every guy who watches “Escape From New York” deep down thinks of himself as Snake. Minus the eye patch.

I love how Carpenter adds elements to his characters personality or back story that hints at a deeper point. Rarely is there blatant subtext in his films. Subtext is there, but it's more of an attitude than a message. We see this with Snake's distrust of the government and the military. Being a former military man himself, he known how far shit rolls down hill. But there is no grand speech or parody of any real world events. Just Snake being really pissed off at the powers that be, with his cynical anti-establishment view.

I've always appreciated this. Carpenter's films aren't preachy, and because of it his viewers, whatever their personal beliefs, are free to take in the material and interpret it their own way. This sort of thing really gives his work legs and is just one example of what a great story teller John Carpenter really is.

In conclusion, I highly recommend “Escape From New York”, as it is a work of classic bad-assery. Snake is great, the story is great, the effects and miniatures are great, the atmosphere is great, and even the soundtrack is great, again. Hmm, I wonder why that is.

I’m Cory Carr and this concludes our ride on the “Action Movie Time Machine”. Until next time, Semper Fi!
For more from Cory, check out his website Slaughterfilm.com, where he and his good friend Forest Taylor record weekly podcasts, reviewing the films that are legendary, even in Hell!

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1984-A-Thon: Runaway

Before we begin I would like to thank Forgotten Films for allowing Simplistic Reviews to join this fantastic 1984-A-Thon. A lot of great reviews for the amazing year of 1984. Head over to Forgotten Films for more!

And use #84athon on twitter to keep up to date!

So what does Tom Selleck’s Mustache and a Dog sniffing robot have in common? They’re both part of a special division of the police department called the Runaway Squad that goes after Gene Simmons of KISS.

Yep that’s right there is a movie that has that and it’s called…

Runaway: Fun
1984 - Action - 99 mins


Runaway is a futuristic film staring Tom Selleck, Gene Simmons, Stan Shaw, Cynthia Rhodes and Kirstie Alley. Selleck plays a police officer that specializes in malfunctioning robots. This future robot driven world was Directed and Written by the late great Michael Crichton, who I think created a very interesting film that doesn’t get much attention. Runaway isn’t a bad film it's extremely fun to watch and it’s a damn shame this film isn’t better known.


The Good

Tom Selleck was great in his role as Jack Ramsay. Michael Crichton takes a risk casting Kiss's Gene Simmons as the bad guy, Charlie Luther. Simmons looks the part, his stare is fantastic. He is very menacing and in my mind knocked it out of the park. I only wish his delivering with his lines was a bit better, otherwise I was impressed. Kirstie Alley pops up for a few scenes and she was pretty good. Cynthia Rhodes did a very good job playing Selleck's partner and love interest. It's a shame she doesn't act anymore I really liked her in this film.

Jerry Goldsmith comes in for music and kills it with his first pure electronic score. I really dig this film's score and feel it works perfectly with Crichton's vision.

Crichton does a good job directing this one. He really understood how to create suspenseful scenes. There is a scene with a robot killing family members and Crichton sets this up that makes you go to the edge of your seat. The other is when Ramsay goes up in a elevator. Ramsay is scared of heights and you can feel his pain as he makes his way up.

The Weak

For me the pacing is a little off in this film. I feel some scenes get too slow and others a bit unneeded. The writing is okay, from Crichton I would expect more. It's not bad but every time I watch this film I get very annoyed with Selleck character's name being thrown around. Turns out Ramsay is said 52 times which is more then once for every two minutes. I thought it was just me, but IMDB has this in their trivia so I'm not the only one that thought that apparently.

The Bad

For me the the worst part of this film is the beginning. It starts off with Selleck and his new partner, Cynthia Rhodes going after a malfunctioning farm bot that ends pretty cheesy. This beginning is very unneeded and if I had my way I’d take it out. Yes there is some foreshadowing going on in this scene but my feeling is we could of moved it to the next malfunctioning robot scene.

For anyone watching this film for the first time might start losing there attention here. The bot isn’t dangerous and is just running around. Yet the group of “male” farmers call in the police to chase it. For me these farmers could easily stopped the bot (Maybe it’s for insurance purpose, maybe) but it wasn’t dangerous. And in doing so we have this guy and girl having a Benny Hill police chase that ensues with a farm bot. Every time I watch this scene this is what I see and hear, which isn’t what you want in a dark film like this. The ending for this scene is the two officers jumping together with arms spread outward onto the bot which cuts to them carrying it with dirt and smoke covering their faces. Maybe if the robot was killing farmers and cattle I would find this a tad more interesting, but the comical chasing makes this scene weak.

All in all Runaway is a good watch. If you haven't seen Runaway do yourself a favor and check it out. It's a fun 80's film to watch. It has 80's action, 80's boobs, 80's Tom Selleck and Tom Selleck's Mustache. Gene Simmons is a great bad guy and Goldsmith delivers once again on music.

Check out Forgotten Films for more of the 1984-A-Thon!

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The 10 Best Superhero Films of All Time Blog Relay

We here at Simplistic Reviews are honored and happy to be apart of the Top 10 Superhero Films Blog Relay...mainly because we have this same conversation amongst ourselves nearly twice a day.  The rules are simple....well actually they aren't.  They're a bit more complicated and elaborate than our feeble minds are use to.  However it is all in an effort to make a rock solid, no doubt about it, objective/subjective list.  Here are the rules:

1. The list of movies will be passed to another blogger who will post their list within a week.
2. The blogger will take their list, remove 3 movies – with explanations, and replace with 3 new movies – with explanations.
3. If a movie lasts five rounds without being removed, it is locked into place.
4. If a movie is removed three different times, it is locked out and can no longer be chosen by someone else. 
5. Once four movies are locked into place, bloggers will replace 2 movies. 
6. Once eight movies are locked into place, bloggers will replace 1 movie. 
7. Once all ten movies are locked into place, the relay will be complete.

Confused yet?  Good.  Let me explain...no...there is too much.  Let me sum up.

Bubbawheat from Flights, Tights & Movie Nights began with a list of The Avengers, Batman Returns, The Dark Knight, Hellboy 2, The Incredibles, Iron Man, Spider-Man 2, Superman, X-Men,Unbreakable, Batman: Under the Red Hood & Blade 2.

Andrew from A Fistful of Films rearranged things by removing Batman: Under the Red Hood, X-Men and Hellboy 2 and adding Chronicle, Mystery Men and The Rocketeer.

Ruth from FlixChatter yanked Blade 2, Chronicle and Mystery Men, and replaced them with Batman Begins, X-Men 2 and Captain America: The Winter Soldier.

Terrence from The Focused Filmographer pulled out The Incredibles, Batman Returns and X-Men 2, before adding Batman: Mask of the Phantasm, V For Vendetta and Guardians of the Galaxy.

Jay from Life Vs Film dropped Captain America: The Winter Soldier, Superman, and Batman: Mask Of The Phantasm then put back in Incredibles and X-Men 2 and finally handed the ball over to us. Whew!!!

Our criteria was based primarily on overall quality, difficulty of concept, impact on the genre, and a 10-point must system.  That last one was probably a mistake.  Lets get started with a few thoughts on the films sticking around this round.

1. The Avengers (Locked)

The Avengers because...well...duh...it's the f%*king Avengers!  This film...hell...that moment above was thought to be just a geek fever dream that was impossible to make, let alone, work as a film.  Whedon and company made the impossible...jaw droppingly possible.  The Avengers is a manifested representation of our childhood imaginations.  What?  Too much?

2. The Dark Knight (Locked)

Chris Nolan took the skeleton of the great crime drama Heat and put Batman and The Joker in it.  Are you freakin' kidding me?!  As a result, came one of the finest performances we have ever, and maybe, will ever see.

3. Spider-Man 2 (Locked)

Still holds up in our opinion and nails Spidey's world, look, motivations, and characters...which is more than we can say for its two bastard stepchildren The Amazing Spider-Man 1 and 2.

4. Iron Man (Locked)

The unquestionable birth of a cinematic superhero icon.  Close your eyes and try to come up with an actor who could play Tony Stark better than RDJ did in this...NOPE...you're wrong.

5. Unbreakable (Locked)

Hey, remember when Shyamalan was good?  Hey, remember when Bruce Willis tried?  This film explores and breaks down the mythos and archetypes of superheroes and supervillains in a way we've probably never even thought about. IE: It's literally superheroes for dummies.

6. The Incredibles  

Not only is this a terrific superhero film, it is one of the best family films centered on family that Pixar has probably done.  And it is the closest we are going to get to a good Fantastic Four movie for the foreseeable future.

7. The Guardians Of The Galaxy

A movie that went from low or no expectations to exceedingly high expectations in a matter of one trailer...and it still delivered Marvel's riskiest success yet.  It felt more like Star Wars than the last 3 Star Wars films.  That has to count for something.

8. Watchmen

Matt's Zack Snyder hate is high, but even he cannot deny the awesomeness that is Watchmen.  Watchmen was thought to be an unfilmable masterpiece.  However, Snyder's efforts here are the closest and truest interpretation of Alan Moore's material we'll ever get to see on the big screen.  Don't think so.  Read up on what Fox wanted to do with Watchmen when they owned the property.  It's scarier than a visit from Rorschach himself.

9. V For Vendetta

Any other time we wouldn't consider V For Vendetta as a top film in the superhero genre, but after the events in Ferguson, MO and how Anonymous and other hacker groups have taken the mask of Guy Fawkes that or our "hero" V wears, and turned it into a symbol, this film carries even more meaning in this turbulent time. V is also another great adaptation of the works of Alan Moore and offered us a look at the future that we actually might not be that far away from.  Plus, there's nothing wrong with seeing Natalie Portman in a baby doll dress.

10. The Rocketeer

Usually when there is no pressure and expectations are low, you get something great, case in point The Rocketeer.  Before Joe Johnston was able to bring justice back to Captain America: The First Avenger, he brought us another hero that kicked some Nazi ass.  Before we had The Shadow and The Phantom, The Rocketeer was the first big stab at creating a superhero from the days of radio serials.  From the iconic score of James Horner to the slimy turn of former James Bond, Timothy Dalton, everything works for this film.  It still captures the imagination of kids and adults because a guy flying around with a jetpack punching Nazis in the face is absolutely awesome.

Now, the superhero films we decided to substitute in are as follows.
 

11. Captain America: The Winter Soldier

We know this movie has only been out since April, but after watching it multiple times since then, we can't possibly leave it off this list.  Captain America: The Winter Soldier is arguably the second best Marvel film ever made.  It has a hero whose righteous indignation actually feels real and earned, a black comic relief character that manages to bring charm, dignity and usefulness to a role no one expected anything from, an enjoyable and self-reliant female lead who doesn't fall into any stereotypical or lazy love interest scenario, an actual scary villain that, which has been poetically said before, may be better at killing people than the hero is at protecting them, and has probably some of the best and grittiest action scenes of any film on this list. (Cap' and Winter Soldier street fight fo' life!) It's one of the few Marvel films and superhero films that feel genuinely important to the grand scheme of its own universe while still overcoming the obstacles of an early release date, a jumping of genres, and being directed by people primarily known for comedy.

12. Batman '89

Say what you will about Tim Burton, but there hasn't been a better marketed movie in the past 30 years than 1989's Batman.  It was the birth of the "Dark Knight" and made many people forget about the Bill Dozier "Batman" series from the 1960s.  Everything is iconic about this film; from the sets by Anton Furst, the score of Danny Elfman, and of course Jack Nicholson's Joker.  Batman '89, despite some shortcomings, created something that hadn't been seen before in cinema and gave us a Batman we could all be proud of.


 Now, the superhero films we decided to give the chop.

Batman Begins

It's never easy to cut a film that not only made up for the mistakes of the past but put us on course for one of the most iconic film trilogies of all time. It's not that Batman Begins is a bad film.  Quite the contrary.  However, there is still something uneven in it tone-wise that Nolan got a better handle on in The Dark Knight.  Um...and it's hard for us to get past the fact that the weapon created by Wayne Enterprises in Begins (Essentially a dehydration machine) is eerily similar to a weapon used in 1966's Batman film.

X2: X-Men United

Again, another tough one to remove from the list since X2 was able to fix all of the problems with the first film and add to the X-Men mythology.  Even with Hugh Jackman giving his best turn of Wolverine and Brian Cox proving to be one of the X-Men's greatest foes, one film had to go, and X2 is unfortunately the casualty.

In historic Olympic fashion, we are going to hand the baton over to our friends over at Insession Film to make their choices.  You have one week.  Although, we'd like to think our list is pretty close to perfection so there is no need to change absolutely anything...YOU HEAR THAT JD, BLAKE, and BRENDAN?!?  NOT A FINGER!!!!

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Slaughter Film Presents: Action Movie Time Machine: Assault on Precinct 13

SIMPLE

As promised, this weeks “Action Movie Time Machine” destination will be to that of quality! After the blunder that is “Assassins”, I had to think hard and ask myself “How can I make things right?”. Well I’ve figured out a way. I’m retro-fitting the Time Machine with my big guns. We’re taking on some of the greatest action films of all time. The films of John Carpenter!

The year was 1976. David Berkowitz earned the names “Son of Sam“ and “.44 Killer“ for attacking and killing a series of men and women. The "Laverne & Shirley" spin-off from "Happy Days" and "Bionic Woman" both debuts on ABC. The U.S. preformed nuclear tests in the Nevada desert…again…for some reason, and there was an “Assault on Precinct 13”.

THE SKINNY

The film begins with a police crackdown on gang crime. As they are investigating the disappearance of several crates of stolen automatic weapons which are in the possession of a deadly gang. Their investigation leads them to a run-in with six armed gang members who are brought to their untimely end.

Once word reaches the rest of the gang, their four Warlord leaders decide to exact their revenge on the good people of Los Angeles, as well as the LAPD.

While this plan is set in motion, Lieutenant Ethan Bishop, Austin Stoker, has just been transferred to a new department. On the first day he is assigned to watch over Precinct 13 on it’s final day of business. The precinct has been consolidated with another and all the files and personnel are being sent across town. He just has to make sure everything goes smoothly. It’s worth mentioning that Bishop and the other staff are expecting the phone and electricity to be shut off at any moment. I have a sneaking suspicion this might be important later. Call me crazy.

Meanwhile, Napoleon Wilson, Darwin Joston, is a hardened criminal who is being transferred to a maximum security prison with two other practitioners of the illegal arts. On the long buss ride, one of the men becomes violently ill and the guards make a stop at the closest precinct, Precinct 13, to have a doctor look him over.

As the day burns on the Warlords and their gang unpack their newly acquired automatic weapons and begin crusin’ the city looking for hapless victims. Who do they set their sights on first? An ice cream truck driver and the little girl he was selling ice cream too. These are some bad dudes! The girls father retaliates, hunting down one of the gang members. But soon he becomes the hunted. Exhausted and out of breath, the man falls on the steps of Precinct 13, where he takes refuge.

The gang is now out for blood. They want the man responsible for killing one of their brother and now hove the entire building surrounded.

Bishop, Napoleon & Leigh, another officer played by Laurie Zimmer, now must defend the girl’s father as well as themselves from the countless gang members as they try to infiltrate the building. The three must learn to trust each other as they fend off wave after wave of attacks without being able to phone or radio for help. Ya know, cause the phone and electricity got shut off.

In a scene that is reminiscent of “300”, the survivors hideout in a store room located at the end of a long corridor, causing the gang to bottleneck as they attack. But you see this is just part of their plan. At the end of the hall, behind the attacking gang, is a tank of acetylene. Once the gang fills the hall Napoleon holds them off while Bishop takes a shot at the tank, which he hits blowing up the gang.

While Leigh is being treated for a gunshot wound to the arm, Bishop walks Napoleon out of the building as friends. The End.

THE VERDICT

John Carpenter is a huge fan of director Howard Hawks. Growing up, he fell in love with  such Hawks films as “The Thing From Another World”, and “Rio Bravo”. These films each shared a common element. A rag-tag group of men fighting against impossible odds to survive. I can’t say that Carpenter is solely responsible for “Assault on Precinct 13”, as it is a re-imagining of “Rio Bravo”, a film about a sheriff, a drunk, a cripple and teen gunfighter who defend the local jail from waves of attackers trying to free a captured criminal.

Carpenter’s love for this type of story involving the “every day” hero is present in much of his work (“Escape from New York, They Live and Big Trouble in Little China”), and has become something that is equally enjoyable for his fans as it was for him watching the film so Hawks. The heroes seem relatable and familiar  -- like people you may know -- which allow them to be rooted for and 

empathized with all the more.

Speaking of which, the relationship Napoleon and Bishop have. Early on neither trusts the other, but when shit starts to hit the wall they realize that they are going to have to learn to trust each other if they are going to survive the night. Of course by the end of the film, their career choices aside, Napoleon and Bishop accept each other as equals. Classic action movie man-code!

Another thing concerning the Napoleon/Bishop relationship. Race never factors into it. I know I mentioned race during my “Passenger 57” review and how it could have made the film more interesting. But “Assault” is the opposite. Race is never mentioned once. Not by Napoleon -- a white guy. Or Bishop -- a black dude. Not to or about each other, and not to or about the attacking gang. The police officer and the career criminal have enough to overcome between each other and the swarms of bad guys.

I only mention this because it seem like the type of thing that could have easily found it’s way into this ‘70s film. I think ninety nine out of one hundred other writers/directors would have jumped at the opportunity to weave their own personal message into the movie, regardless whether or not it was a good decision. The film didn’t need it and I feel thankful that it was left out. The same could be said about any feminist message -- Leigh is one bad-ass chick!

Again, “Assault” is about a small group fighting for their lives and earning each others respect by the end of it. Adding anything to that could have complicated and perhaps ruined the simple and effective story. It would have come off preachy and acted as a backhanded compliment to the characters and the audience watching. The strength of this films story is it’s simplicity.

In Carpenter’s modernization, he added to the “Rio Bravo” story the escalating violence that was present in the urban areas during the ‘70s. Typically brought on by political, social and economic reasons, in “Assault on Precinct 13” the attackers seem to attack for no other reason than because they are bad guys and that‘s what bad guys do.

I compare the gang in this movie to the crime you might hear about on your local news. The news caster always describes the crime -- what was robbed or who was stabbed, ect. -- but rarely is the perpetrator ever seen, or do they speak for themselves. It’s like all the “bad things” are some sort of entity that lurks in the shadows and acts without motive or reason.

I think the attackers, who are virtually faceless in this film (the police too), are tremendously effective in this way. They don’t seem to have any particular motivation, personality, voice, or purpose other than to kill. In some ways they are like Michael Myers as the boogieman. They seem to represent crime and violence in a general way without themselves being any one specific criminal.

I have just a few final comments. The first being about John Carpenter’s score. Again he managed to compose music that is as moody and functional as it is pleasant to listen too. Check it out for yourself here. Also, I don’t think this film was every any direct inspiration for a video game, but it should be. I would play the shit out of an sixteen bit “Assault” game.

Without movies like “Assault on Precinct 13”, there would be no “Predator” and there would be no “Aliens”. “Assault” might seem tame by the standards set in the ‘80s, but “Assault” is the roots of those films and I highly recommend checking it out.

I’m Cory Carr and this concludes our ride on the “Action Movie Time Machine”. Until next time, Semper Fi!

For more from Cory, check out his website slaughterfilm.com, where he and his good friend Forest Taylor record weekly pod casts, reviewing the films that are legendary, even in Hell!

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