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Escape From New York which was released in 1981 is a very entertaining science fiction action movie which still holds up today. Kurt Russell's Snake Plissken would be renowned as one of the most memorable anti heroes on screen. Director John Carpenter directed, co-wrote and co-scored Escape From New York and this would also be one of a number of collaborations with Kurt Russell who would later reunite with The Thing (1982) and Big Trouble In Little China (1986).

Escape From New York takes place in a dystopian 1997 where Manhattan has been converted into a heavily fortified maximum security prison after the crime rate has skyrocketed 400% and the US Government has ordered New York to be cut off from the rest of the USA.

Former special forces soldier turned convicted criminal Snake Plissken (Kurt Russell) has been offered a full presidential pardon in exchange for accepting a top secret mission by Police Commissioner Bob Hauk (Lee Van Cleef) to rescue the US President (Donald Pleasance) after his escape pod lands in New York after Air Force One crashes following a hijacking. The US President is found and taken hostage by a group of criminals led by crime boss The Duke (Isaac Hayes). Plissken successfully enters New York via a stealthy glider. While he is there, he meets a friendly taxi driver named Cabbie (Ernest Borgnine) who drives an armoured taxi who agrees to helps him navigate his way around the island. Fellow inhabitants/inmates Brain (Harry Dean Stanton) and Maggie (Adrienne Barbeau) also help Plissken find the whereabouts of The Duke's hideout where the President is being held prisoner.

Kurt Russell has always been a quality and very versatile actor. His role as Snake Plissken is definitely one of his best roles, and he has stated himself that it is one of his favorite roles.

Director John Carpenter, well known for the horror slasher Halloween (1978), creates an atmosphere of suspenseful action, dark humour, memorable one liners, and great characters. After mixed success with low budget movies, Escape From New York would turn out to be a critical and commercial success for him which would lead on to bigger projects with a bigger budget.

I don't rate the sequel Escape From L. A. (1996), I thought they just tried to recycle the plot from the first movie albeit in Los Angeles. No surprise that it was a box office flop and not well received by critics.

I still enjoy Escape From New York. It's also a favourite amongst many Kurt Russell fans who agree that Snake Plissken is one of the best characters.

Escape From New York still holds up today and is still a classic 40 years on.

7/10.

This early 80's bit of dystopian sci-fi set in a future America which is now a fascist state has gone on to garner a cult reputation. Set in the future of 1997, Manhattan Island is now a high security prison where the criminal dregs of society are contained. When the president's aeroplane crashes in the middle of this city prison and captured by the resident criminals, a mercenary called Snake Plissken is sent in on a do-or-die mission to retrieve him within twenty-four hours.

Escape From New York is another in the long line of strong movies director John Carpenter made in his 70's-80's heyday. After a couple of big horror hits under his belt he returned to the more action-oriented style of his earlier Assault on Precinct 13 (1976), except in this case adding a science-fiction premise to add considerable colour. To this end, the film features dark dilapidated New York settings for the action to take place and these, added to the nice panoramic views of the darkened city add considerable atmosphere. As does Carpenter's main theme music which is amongst the very best be ever composed and given the high calibre of his original soundtrack music, that's saying quite a lot. The film also benefits from a cast of b-movie legends, we have Donald Pleasence as an improbable President of the United States, Isaac Hayes is a blaxploitation styled Duke of New York, Kurt Russell as the iconic eye-patch sporting anti-hero, Adrienne Barbeau appears throughout in an eye-popping low cut tight red outfit, Ernest Borgnine is a comic-relief cabbie, Lee Van Cleef is a hard-bitten police chief and Harry Dean Stanton pitches up as a shifty character called Brain. The film isn't always fully exciting stuff it has to be admitted and it sometimes promises more than it delivers but the set-up, settings and cast are very good, while there are some memorable scenes such as the death match and mine-infested bridge to keep the pace up. Ultimately, this is a very solid bit of early 80's sci-fi action, with enough distinctive elements to ensure its ongoing cult appeal.

In the far-flung future, Manhattan Island is a prison surrounded by a fifty-foot wall. Said prison is guarded from outside the wall, while inside, the prisoners create their own lawless society. When the US President (Donald Pleasence) inadvertently lands in this hell, it's up to bada$$ criminal, Snake Plisskin (Kurt Russell) to retrieve him.

ESCAPE FROM NEW YORK is Director John Carpenter's foray into post-apocalyptic sci-fi / action. In his vision, it's an out of control crime rate, rather than nuclear holocaust that's to blame. Packed with oddball characters, and loaded with classic scenes, EFNY became a trendsetter.

In spite of some clunky, "futuristic" technology, and the unavoidable poignancy of having Plisskin land atop the World Trade Center, it all works somehow. For its budget, this movie looks impressive. Russell is perfect in his eye patch-wearing, anti-hero role, riding high before his next big stint in THE THING. Great use is also made of older stars like Lee Van Cleef, Ernest Borgnine, and the inimitable music legend, Isaac Hayes. Carpenter regulars Tom Atkins, Charles Cyphers, and Adrienne Barbeau make appearances, with Ms. Barbeau having some heavenly running sequences! One of the truly great Carpenter films...

First things first, Kurt Russel is just plain cool. That said, on to the review. Escape From New York is a classic action movie with a great horror cast, including Donald Pleasence, Tom Atkins, Charles Cyphers, and who could forget Buck Flower. Buck, who has one of the best scenes in the movie ("Sure, I'm the president!"), is hilarious. John Carpenter proves that he is a versatile director and can make a hell of a film outside the horror genre. In Carpenter's classic, Kurt Russell plays the immortal Snake Plissken, New York has become a prison state, and the president has just crash landed there. Enter Snake Plissken. Freshly captured and about to be incarcerated in New York, he must save the President (Pleasence, who isn't even American but pulls it off well) from the clutches of Isaac Hayes in order to regain his freedom. It's all great stuff and you can't stop watching as Snake fights his way from one famous landmark to another (he even has to wrestle Ox Baker). But it leaves me with one unanswered question: What did happen to Fresno Bob?

Note: A couple of the Duke's cronies are credited as Romero and Cronenberg. Also, Jamie Lee Curtis does the opening computer dialogue.

Snake Plissken is the classic anti-hero, ala Clint Eastwood's Man-with-no-name. Plissken is an ex-soldier turned criminal, recruited/blackmailed into rescuing a hostage president from the prison of New York City. Plissken is a walking ball of anger and a survival machine. He fought for his country but had everything taken from him, so he started taking back. Now, he has to rescue a man he doesn't care about, if only to survive long enough to take his revenge on Hauk and the government.

John Carpenter's film is a masterpiece of dark humor, suspense, and great characters. The film channels the anger and distrust of the post-Vietnam/Watergate era, as well as the then-current Iranian Hostage crisis. Plissken represents, in a fashion, the Vietnam vets who did their job, even if they didn't agree with or understand their war, but came back to nothing. The film's novelization explores these themes better than the movie, but it is hinted at in Hauk's briefing. It also depicts a fascist police state, one that some would say is not too far from reality.

Kurt Russell is excellent in what was a breakout performance for him. Up to this point, Russell had been stuck in low budget comedies, following the end of his Disney days. This performance, coupled with another collaboration with Carpenter, Elvis, led to bigger and better roles. Russell channels Clint Eastwood to give Snake a menacing, if laconic quality. Much like a real serpent, Snake watches and strikes when he is ready; with speed and impact. Russell is able to say a lot with little dialogue, through his body language and facial expressions.

The supporting cast is wonderful. Adrienne Barbeau is the beautiful, but deadly Maggie. She is partnered with the intelligent, but slimy Brain. Their's is a symbiotic relationship; each provides something the other needs. Harry Dean Stanton, a great character actor, presents a Brain that is smart, but ruthless, and more than a bit cowardly. Isaac Hayes is The Duke, ruler of the prison. Hayes is a bit uneven, as he wasn't an experienced actor (he had at least one movie before this) but he is a charismatic performer and ultra-cool. Donald Pleasance is the consummate politician, a big man in his controlled environment, but lost in a world outside his; one he had a hand in creating. Ernest Borgnine is tremendous as Cabby, the answer man and link between Snake and the rest of the cast, as well as to the past of New York. Finally, Lee Van Cleef brings some of that Angel Eyes magic as Hauk, the prison Warden. Hauk is an ex-soldier and identifies with Snake. The difference is, Snake rebelled against the system that betrayed him; Hauk joined it. This was Van Cleef's last good role, before he was saddled with mediocrity in his tv series, the Master, and became the butt of jokes on MST3K.

The film moves at a brisk pace and the dark lighting carries the sense of mystery, isolation, and destruction. Carpenter is able to convincingly hide the fact that he shot this film in St. Louis and LA, and make you believe it is New York. Although there are gaps in logic and missing information, the pace doesn't let you dwell on it. There is a constant feeling of the race against time. If there is any complaint, it's that the budget sometimes holds back some of the action, but characterization makes up for it. Also, the dark lighting is sometimes too dark, and details are obscured.

The new special edition dvd brings a treat to long-time fans: the deleted opening bank robbery and capture of Snake Plissken. Since I had read the novelization before seeing the film, I had long wondered what this sequence had looked like. Although it does explain why Plissken is on his way to the prison when Hauk intercepts him, it doesn't really work in context with the rest of the film. The sequence worked well in the book because of Snake's inner monologue and memories of his mission in Leningrad and the loss of his parents to government action. We understand Snake's hatred of the government and his nihilistic nature. In the sequence, as shot, we don't really get a sense of who Plissken is; just that he has apparently committed a crime and is on the run. We don't really get a feel for his relationship with his partner, which affects the emotional impact at the end of the sequence. Ultimately, the film works better without this footage.

A note on the commentary track: Ox Baker was not seven feet tall. He is probably closer to the 6'6" to 6'7" range, although he was over 300 pounds. His bulk makes him appear larger than he really is, especially in a wrestling ring.

One used to wonder what this film would have looked like with a bigger budget. Carpenter sort of answered that with the sequel, Escape from LA. It was essentially the same film, with better effects and a West Coast sensibility; but, it doesn't hold a candle to the original. The lower budget caused the cast and crew to be more creative and they succeeded far better here. It would be good to see Snake again, but in a new environment, with a different plot. Russell's age could be an asset, as Carpenter could examine an older Snake, who must rely more on cunning than physical skills.