When John Carpenter made Assault on Precinct 13 in 1976, he readily acknowledged the influence he drew from George A. Romero in crafting the homogeneous zombie-like horde of gang members laying siege to an L.A. police station. This served to dehumanise the antagonists, and side-stepped the responsibility of delving into the knotty politics of escalating gang violence. It’s an interesting point of comparison to Jeremy Saulnier’s third feature. If his second film Blue Ruin was his subversive genre riff on Death Wish, then new cult thriller Green Room is Saulnier’s Assault on Precinct 13. However, his own approach to the political underpinnings of an excruciating punks vs skins bloodbath is vastly different to Carpenter’s cops vs gangs.
Ben Nicholson | @BRNicholson