Avis des critiques

The secret is that the wild inconsistency of Escape from L.A. is actually an asset, papering over the sometimes spotty pacing of the original with a gleeful morass of inconsistently deployed genre tropes, celebrity cameos, and set pieces so self-contained the film starts to resemble vaudeville more than the "thriller" model it briefly flirts with.

Trom the neat green-against-black design of the credits to Snake's terse one-liner at the end (the only one-liner in the movie that really works), Carpenter's visual and conceptual minimalism has rarely functioned as cleanly as it does in Escape From L.A. This is a minimalism that can paradoxically accommodate a 'Scope format and most of Los Angeles and environs (including Disneyland, reconfigured in postapocalyptic terms) as it decorously fills the frame.