Escape From L.A. (1996)

Director: John Carpenter

Starring: Kurt Russell, Steve Buscemi, Pam Grier, Peter Fonda

Primary genre: Post-apocalyptic

Secondary genre: Action

The sequel to one of the beloved silver haired director’s career highs (“Escape from New York” (1981)), “Escape from L.A.” received mediocre reviews when it was released and unfortunately did not fare well in the box office either. The massive success of “Independence Day” (1996) and “Dragonheart” (1996) with their novel special effects managed to eclipse this old school filmmaking that relied mostly on matte paintings and clever cinematography to present a post-apocalyptic world. Bearing the same premise with the original was perhaps another reason that made the critics and the audiences wonder why bother to have Kurt Russell’s Snake Plissken escape again albeit from a different and famous city that is filled with lunatics.

But in typical Carpenter fashion where the majority of his movies can be appreciated after a few decades, the similarities end the moment Snake has to retrieve a McGuffin against his will for the newly elected “government”. Carpenter and this time around Russell himself inject into the script a hearty dosage of satire and spot on social commentary for the city of angels and to some extent the USA and all they stand for. While New York was a metaphor in 1981 for all the gangs that had taken over the streets and thus making it a scary place with a high murder rate, Los Angeles is a different and much slicker beast.

“Escape from L.A.” attempts to be more than a cash grab by expanding the lore of our beloved anti-hero. The New York we saw in the previous “installment” still exists as a prison for those who break the law but the quake-conversion-into-an-island L.A. has become the spot to dump the “moral” society’s rejected and denounced; homosexuals, Muslims and anyone else who is considered “degenerate” by this theocracy. Mirroring real life aspects of today, the message and themes here seem highly relevant and frankly ahead of their time; a character disregards Snake’s Plutoxin virus poisoning as a “government propaganda” threat used to control the population. Carpenter and his (almost silent) one eyed badass do not offer solutions to the current predicaments but unapologetically suggest a way of life that escalates in one of the balls-iest “Fuck You” finales in cinema history that for sure will put a smile in your face.

Production wise, our dear Johnny uses his large budget to dress and shoot the “city” differently that its predecessor by emphasizing its … more theatrical aspects. His production design is filled with suitable details that put strong emphasis on several L.A. inspired locations that include but are not limited to pleasure houses (to put it eloquently) and plastic surgery hospitals; arenas that are populated with exaggerated versions of LA’s local denizens such as Spanish speaking individuals, oblivious surf dudes, and in a fantastic touch, the obsessed with eternal beauty “ghosts” of Beverly Hills, all tactile commentary missiles that spare no one.

In terms of action, it might feel anemic (and bloodless) by today’s or even by 1996’s standards (remember “The Long Kiss Goodnight” was released the same year) but within this world’s context, it makes sense despite some wishful thinking of wanting more visceral sequences that can be worthy of the character’s reputation. There are some key effect shots that looked ill-conceived such as the infamous surfing sequence but to be fair, they bear a specific charm, feel at home and surprisingly do not detract from enjoying this satire.

The cast is having a ball here and it is always good to see Kurt Russell back as one of the greatest characters of all time. His Snake is all about attitude, yet he lacks those precious one liners and excessive machismo (his moment with Taslima is actually tender while his interaction with Hersey, a trans woman where he places his hand underneath her crotch to grab a gun could have been played for the typical dick jokes that American cinema constantly goes at) despite being a silent Alpha male mainly because he is a character first and not a walking stereotype. Sporting gorgeous leather wardrobe, he is accompanied by a character cast that includes the likes of Steve Buscemi, Peter Fonda (!), Cliff Robertson, Pam Grier (in a limited role that comes and goes way too soon) along with a rather disturbing and creepy cameo by Bruce Campbell as the Surgeon General of Beverly Hills. Cliff Robertson’s USA president in particular represents pretty much everything that a hypocrite and power hungry theocratic noob stands for especially when he is hiding behind his army of eternally brainwashed “police force”.

“Escape from L.A.” runs just about it right and Carpenter and co should be commented in their efforts to avoid thematic comparisons with its darker and gloomier predecessor. Putting Snake is some unusual situations that are not necessarily action heavy and its spot on social commentary elevate it from the film pile and award it the title of a worthy sequel. Kurt Russell is always great at what he does and Snake Plissken is his second persona. We can safely say that Snake is back even though it took us twenty six years to understand and finally appreciate his purpose.

Kurt Russell shines in this cult and worthy sequel

+Excellent satire of Los Angeles

+Themes have aged like fine wine

+Similar premise, different execution

+Excellent production design

+Ballsy finale

+Kurt Russell is perfect as Snake

+Great cast

-Not enough Pam Grier (or Campbell)

-Action can be characterized as anemic