Skip to Content, Navigation, or Footer.
34th Street Magazine - Return Home

Film & TV

Assault on our intelligence

Jean-Francois Richet's remake of John Carpenter's 1976 film Assault on Precinct 13 could almost be billed as a parody of the typical action flick. The film takes place in a nearly abandoned police precinct during a heavy snowstorm. Ethan Hawke plays a burnt-out cop in charge of guarding a recently apprehended crime leader (Laurence Fishburne). Hawke, the handful of cops and civilians inside the precinct are forced to hold down the fort when an impossibly large group of corrupt cops try to bust out Fishburne.

Not only is the plot unconvincing, but the dialogue inevitably succumbs to cliche as well, with conversations about guilt and "what it is to be a cop" ruining any chance the movie had. The characters are under-developed, even for an action movie, as Richet appears unable to draw out any decent performances from his actors. The post-Matrix Fishburne comes across as a caricature of himself, as he seems to think himself too cool to express emotion, or even, well, act. The Sopranos' Drea de Matteo, affectionately referred to as "secretary," in the film, serves no purpose beyond creepily marching around the precinct in fishnets and expressing her love for bad boys. This movie is unoriginal, unrealistic, and certainly not worth the ticket price.


More like this
ironlungdom.png
Review

‘Iron Lung’ and the Rise of the YouTuber Film

Iron Lung shows how a creator with a large online audience turned a low budget game adaptation into strong box office revenue through fan driven promotion and social reach. YouTube creators build direct audience ties, run production pipelines, and mobilize viewers to support projects across media platforms. The film’s performance signals a shift where online personalities compete with studio backed releases through community scale and digital marketing power.

Wicked Duology
Film & TV

‘Wicked: For Good’ is for the Theatre Kids

Wicked: For Good closes its story without awards recognition but with clear creative conviction. The film’s reception reflects a mismatch between its intentions and critical expectations. Designed as the second half of a continuous narrative, it prioritizes character depth and long-term emotional payoff over accessibility. In doing so, For Good succeeds less as a crowd-pleaser and more as a film made for those already invested in the world of Wicked.