Assault On Precinct 13 In Hindi Free Download
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On New Year's Eve, inside a police station that's about to be closed for good, officer Jake Roenick must cobble together a force made up cops and criminals to save themselves from a mob looking to kill mobster Marion Bishop.
A police sergeant must rally the cops and prisoners together to protect themselves on New Year's Eve, just as corrupt policeman surround the station with the intent of killing all to keep their deception in the ranks.
OK, here is the deal. I love action movies and generally have no problem suspending a great deal of disbelief over plot holes or other implausible actions. However, this movie went far beyond minor flaws and went straight to the ridiculous. Let me get this straight. The police send a notorious gangster and cop killer (along with a number of other prisoners) on a bus with a grand total of two guards. They then are forced to stop at a precinct where precisely two cops are working, one of which is a day away from retirement and the other is a burn out. Apparently the building was about to be shut down so somehow the police decided that everyone else in the entire precinct got the night off for new year's eve. Right. But wait, it gets better. Gabriel Byrne shows up to take out Fishburne before he can rat him and other dirty cops out. (although we never find out anything about their relationship or dealings). Interestingly, the cops launching the assault on the precinct are in full SWAT gear with night vision goggles, assault rifles, the whole nine yards. Later on they even bring in a helicopter with MORE people in full gear. I'm not a cop, but I'm pretty sure you can't just waltz out of the station with an entire swat platoon worth of equipment without someone asking what you are doing. And the police helicopter??? In the supposedly terrible winter storm??? Also, no one near the precinct happens to hear or see this major siege going on with flash grenades and heavy rifle fire going off? I mean seriously, come on. I know this is set in Detroit, but even there it would raise suspicion on a supposedly top secret mission. I also love the fact that they find a Tommy Gun in the evidence room and somehow the gun still works and has bullets that are still intact and usable.
I could live with some of these problems if there weren't other glaring issues also. For one, the opening couple minutes of the movie are shot nicely in a very frenetic and hyperactive way and I thought was going to set the tone for the rest of the movie. Unfortunately I was wrong. The remainder of the film has no sense of pacing or tension or drama. The "characters" don't relate to each other in any way which is probably largely due to the fact that they aren't particularly interesting. There isn't enough interesting action to make this a good action movie, and there isn't enough character development/storytelling to make this a passable thriller/drama. The "relationship" between Hawke/Fishburn is the only thing that the director even tries to make interesting or intense. Oh and by the way, the final scene in the wilderness? Uh, I thought this was in the middle of a run down industrial section of Detroit and suddenly we are in the woods?? The acting isn't terrible in this movie, it is just that the directing and writing are atrocious. I really enjoy some of Hawkes, Fishburne, Byrne, Dennehy's other movies but this one is terrible.
Assault On Precinct 13 is less of a remake of John Carpenter's balls out, guerrilla action treatise and more of a branch off into timeless, near western archetypes, as well as the good old siege thriller format. It's also one of the meanest, grittiest cop films of the last few decades, deserving a higher rung on the ladder of adoration than it has so far ascended to. Dark, merciless and full of yuletide gallows humour, it's a searing blast of gunfire and snowbound pulp starring a roster of fired up talent, starting with an intense Ethan Hawke and an unpredictable, predatory Laurence Fishburne. Fishburne is Marion Bishop, a legendary criminal kingpin wrapped tight in police custody and shipped off to a remote precinct on New Years eve with a busload of fellow prisoner transports. The station is run by a few relaxed cops, all preparing to punch that clock and get the New Year's festivities underway. Unfortunately, a gang of corrupt detectives have other ideas, descending upon the ill guarded outpost with the fury and firepower of animals set loose, determined to murder everyone inside and level the place to the ground in order to cover up their actions. Hawke is the veteran cop with a dodgy undercover past, blessed with the grit and gristle necessary to rally the troupes and self preserve til the morning light. Drea De Matteo, who's awesome and welcome in anything, is a tough female sergeant, Maria Bello the sharp police psychiatrist caught in the middle, Brian Dennehy the salty old dog, and a laundry list of rabid felons who pitch in to save their own asses, including Ja Rule, Aisha Hinds, Currie Graham and a wired up John Leguizamo. Together they all make a veritable wild bunch to hold down the fort, but the forces they're up against are tactical and terrifying. The opposition is headed up by a dangerously quiet Gabriel Byrne as deeply a corrupt Police Captain, doing a coiled viper rendition of a Christopher Walken villain, his work one of the strongest aspects of the film. Watch for Matt Craven and Kim Coates in brief cameos as well. The action is a ballistic blitzkrieg of firefights, standoffs and ditch efforts, scarcely giving the audience time to breathe, let alone tally up the casualties, of which there are many. This ain't no cakewalk, in terms of action films. It's down, dirty and has no time for quips, smart mouths or villains that monologue. Everyone involved in a caged animal prepared to go to extremes at the drop of a hat in order to achieve their goals, with kneejerk reactions and off the cuff violence that feels real, and cuts deep. If you are serious about your action films, and enjoy ruthless, non patronizing narratives that get as cold as the snow drifts surrounding the precinct and as casually indifferent as the bullets that ventilate it, this is your ticket.
The main thing this "Assault" lacks is a point. Mr. Carpenter's film still resonates with the political paranoia and social unease of the era. Mr. Carpenter's cynical refusal to distinguish clearly between good guys and bad guys feels freshly unsettling, while Mr. Richet's "modernization" looks like something we've seen a hundred times before.
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