12/27/2022 0 Comments Escape from la![]() ![]() The main plot is the expected ‘road-trip through hell’, but every stop feels like an almost knowingly camp comment on modern (mid-90s) society – from Bruce Campbell’s hilarious cameo as the head of a plastic surgery cult, to the reprise of EFNY’s gladiator scene now being some ridiculous basketball pastiche that sees Russell setting the bar high for Sigourney Weaver to beat in the following year’s Alien: Resurrection, and onto Peter Fonda’s cringeworthy surf-dude and his band of rad wavers - it feels like every opportunity Carpenter and Russell had to go teasingly extravagant was taken. Russell’s only writing credit, it’s a brilliant example of how as a screenwriter, Russell is a superb actor Yet having taken so long to bring to the screen, Russell, Carpenter and partner-in-crime to both Deborah Hill, seem to take their only shot at a do-over and stuff every idea they could possibly shoehorn into the same skeleton as the first film: newer tech is shown off at every turn (everyone’s in or an actual hologram now), newer cruelties are depicted by ‘the government’ (people opting to die in an electric chair rather than be ‘deported’ to the only part of the US that allows smoking, drinking, the eating of red meat and sexual intimacy outside of marriage… er… hang on a minute…) and newer toys are given to Plissken as he embarks on exactly the same mission (stealth pleather? I want, I need) as before. ![]() ![]() Immediately replicating the opening of the first film, only this time with added socio-political snark and lashings of underfunded CG, everything is precision-tooled to have our nostalgia glands tweaked and teased. Set in the future again – now 2013 – the infamous outlaw/professional eye-patch wearer Snake Plissken is called upon yet again by his country to venture into another man-made hell (this time, earthquake ravaged Los Angeles) to reclaim another man-made hell bringer (the usual satellite weapons platform that can easily be turned into a targeted EMP canon to destroy life as we know it) from the clutches of the island’s inhabitants. ![]() Still Russell’s only writing credit, it’s a brilliant example of how as a screenwriter, Russell is a superb actor. Not even close.īirthed and deathed almost single-handedly by its star Kurt Russell, who was so desperate to revisit his favourite character, he pushed for nearly fifteen years until Carpenter finally relented and made this long-awaited and hugely anticipated sequel. “ Escape from LA is better than the first movie. Take this quote from an interview Carpenter gave Erik Bauer of Creative Screenwriting ( “It’s Always the Story” – The Craft of Carpenter ()) some years ago: God-like horror legend… synth-muso maestro… hilariously grumpy and very candid casher of cheques from anyone willing to stick his name on something.īut sometimes, just sometimes, he is also just wrong. Armorer Steve Karnes at Ellis Props & Graphics was hired to build a new version of the Coreburner, this time based around the M16K, which worked far better. Originally, the weapon was supplied by Stembridge Gun Rentals and based upon a Rocky Mountain Arms Patriot fitted to a select-fire M16 lower receiver unit, but the Patriot upper was not designed to function on fully automatic fire, and thus, the Stembridge version of the Coreburner kept jamming when firing blank rounds on full-auto. In reality, the weapon is a heavily modified later-generation LaFrance Specialties M16K. The rifle used by Snake Plissken ( Kurt Russell) is identified in the film as a " Coreburner". Rifles / Carbines "Coreburner" (Modified LaFrance M16K) 2.3 Magnum Research Desert Eagle Mark VII.2.1 Smith & Wesson Model 629 Performance Center.1.1 "Coreburner" (Modified LaFrance M16K). ![]()
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