Απόδραση από το Λος Άντζελες

David Sims3.0

this is just what I assume LA is like

Logan Kenny5.0

you know what, i view movies with my heart and not my head, the intellectual analysis of my feelings comes afterwards, i probe my mind and allow my thoughts over why i feel such adoration or hatred or even apathy to a work of art. now my first instinct is to tell you that kurt russell plays post apocalyptic basketball to save his life while being poisoned by The President of the United States of America and that a crowd of leather clad extras chant Snake over and over again when he fucking nails that shot, and that this sequence isn't even close to my favourite part of the movie, that the pure emotions that ran through me were overwhelming joy and happiness that john carpenter got millions of dollars to make something this fucking weird and wacky while also being one of the most nakedly political and critical films about modern day america and the institutional imperialism and hatred that the nation is built upon, and that somehow remains relevant to this day. but my critical analysis side of me just says "this shit is fucking awesome, five stars baby, look at kurt russell surfing that motherfucking tsunami woooooooooo" so going with both sides of my psyche here

Willow Maclay4.0

Escape from L.A. is a little bit goofy, but that's the intended effect. There's a scene where Snake Plisskin commands a CGI submarine only narrowly avoiding a shark before crashing into Universal Studios. So that's the sort of thing we're dealing with here. That Carp refashions one of his legendary movies as a satire shows a man who isn't afraid to make himself look foolish. This isn't to say L.A. isn't without bite though, because Carpenter's cynicism and his exhaustion with Los Angeles movie types is in full display here. That's never more evident than Buscemi who'd sell you out at any point to move up the ladder. However, The greatest asset here is the honest look at America, and how Carpenter's "no-bullshit" take on things presents a picture of the United States that's downright prescient towards our modern times. The giant walls covering the country, the militant religious fundamentalism from the Christian right, deportation of Muslims and those who are transgender. It all feels like the America that exists today. Snake Plisskin is a template for Carpenter's politics. He doesn't really care one way or the other where things go as long as you don't bother him, but it's fascinating to watch America in 2013 play out like America in 2016. It's scary, but at least there's still basketball.