Escape from L.A. (1996, John Carpenter)

Escape from L.A. is an action movie without any real action until the final set piece. And that final set piece is excellent–lots of hang gliders and practical effects. But the rest of the action? It’s terrible CG. Instead of imagining real set pieces, director Carpenter (and co-writers Kurt Russell and Debra Hill) fall back on digital effects.

As a result, there’s almost nothing distinctive about L.A. Until the finish, anyway. The last ten minutes or so are really good.

The film has a number of big problems, but the primary ones are the setup and the geography. As a delayed sequel to Escape from New York, L.A. is a disaster. The opening establishes almost the exact same situation as the first film, which seems unlikely but also reeks of a lack of imagination.

Then there’s the geography. The film’s setting is so big and so varied, it’s hard to imagine Russell’s anti-hero having any trouble escaping from it. So the script has to confine him with a rapidly decreasing countdown.

There aren’t any good supporting characters–though a lot of the supporting performances are good–because L.A. never takes time to enjoy itself. It feels like a chore for the filmmakers.

The best supporting turns are from Steve Buscemi, Peter Fonda, Valeria Golino, Stacy Keach and Georges Corraface. Corraface and Golino are shockingly good; Fonda has lots of fun.

Also unimaginative is Lawrence G. Paull’s production design.

L.A. is a pointless, disappointing but vaguely inoffensive trip.

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