From the Chicago Reader (July 23, 2004). — J.R.
Directed by Mark Achbar and Jennifer Abbott
Written by Joel Bakan, Harold Crooks, and Achbar
Narrated by Mikela J. Mikael.
A month ago I attended back-to-back press screenings of two major documentaries, Michael Moore’s Fahrenheit 9/11 and The Corporation, which finally opened here last week. Though it would have broken with industry protocol to have said so at the time, before both movies had opened, it was clear that The Corporation — a 2003 Canadian film by Mark Achbar, Jennifer Abbott, and Joel Bakan — was a better film, and second looks at both movies has only confirmed this impression. Michael Moore’s movie probably startles people who rely mostly on TV for their news, but The Corporation will shock even those who keep close track of newspapers and magazines. In fact, it goes beyond shocking in obliging us to ask ourselves how far we’re all prepared to go in our defense of capitalism.
Far enough to jeopardize our health and the survival of the planet? Maybe not, but at the moment it’s corporations that appear to have the power to decide. And the stories this film uses to demonstrate that are chilling.… Read more »
From the Chicago Reader (January 21, 2005). — J.R.
Assault on Precinct 13
*** (A must-see)
Directed by Jean-Francois Richet
Written by James DeMonaco
With Ethan Hawke, Laurence Fishburne, John Leguizamo, Gabriel Byrne, Maria Bello, Brian Dennehy, Drea de Matteo, and Ja Rule
John Carpenter’s first solo feature, Assault on Precinct 13 (1976), is an effective low-budget genre piece — a perfectly proportioned, highly suspenseful action story about a few individuals under siege. It’s derived in part from Howard Hawks’s 1959 western Rio Bravo: Carpenter directly quotes from the dialogue and action, and he jokily adopts the pseudonym of John T. Chance, the name of John Wayne’s character, as the credited editor. The film is also influenced by claustrophobic horror movies such as The Thing (which Carpenter subsequently remade), The Birds, and Night of the Living Dead, especially their depiction of how unstable group dynamics are affected by an impersonal menace.
After most of the employees of a police station in a Los Angeles ghetto have moved to a new building, the station is attacked by a vengeful gang that uncannily expands into a mob, to the accompaniment of Carpenter’s relentlessly minimalist, percussive synthesizer score. A black rookie named Bishop and two white secretaries are the only remaining staff, and once Bishop realizes they can’t survive without help, he frees two prisoners, one black, one white — both hardened criminals en route to the state pen.… Read more »