John Carpenter’s “Escape From L.A.” isn’t a great movie, mainly because on the surface it’s essentially “Escape From New York,” with a change of locale. It’s currently on Netflix, though as I watch I have come to the conclusion that it’s much better – and a tad deeper – than I remember it being (Sure, the surfing scene was odd, and probably a bit beyond Pliskin’s skill set, if the original film was any indication).
‘New York’ dealt with an America where things are so far gone that someone gets the idea that it would be easier to just corral all the deviants, criminals and anyone else unable to fit easily into the New World Order, in New York (which some may perhaps consider to be redundant), which would be walled off.
The first film is very much self-contained, in that you don’t get much information about the rest of the country (though the force that keeps the inmates within the city walls –the United States Police Force – hints at the rise of military-styled fascism).
This idea is expanded upon in “Escape From L.A, which uses the entire country as a canvas, though the prison that is L.A. is emphasized.
Didn’t Luc Besson retire? If so, he has an odd way of showing it because a new film, Lockout, was not only executive produced by him but the screenplay that he helped write was based upon his idea. It doesn’t look like anything that we haven’t seen before, if the trailer is any indicator, though with a production budget of $30 million, it doesn’t have to be the next Hunger Games to turn a profit.
Speaking of profit, coming out April 13 means that it hits theaters about three weeks before “The Avengers” comes and sucks the money from many movergoers wallets.
April 13 is also a great release date because I imagine that Hunger Game fatigue would have set in by then, which means that there should be room for another film at the top. Also notice the presence of the lady in the poster above, as if to say that Lockout has the toys and explosions that most guys crave in their summer entertainment, yet it also has a slightly less masculine side too.
By the way, can Snow (Guy Pearce) sound anymore like Snake Pliskin?
Judge for yourself, though part of me wants to see if Besson is ballsy enough to have Snow appear with an eyepatch at least once.