Review—Siege (Severin)
Author: Palo Sionoplia

In 1983, Canadian genre cinema gave the world its answer to John Carpenter’s Assault on Precinct 13 via the aptly-titled thriller Siege. In hopes of creating a film with strong commercial appeal, co-directors Paul Donovan (who also wrote and produced the film) and Maura O’Connell concocted a lean, mean work of suspense that packs a serious punch and takes no prisoners. In a style comparable to Carpenter’s, Donovan and O’Connell pepper the action with more than a dash of socio-political commentary, addressing hot-button issues that include homophobia, economic collapse, and governmental protection agencies that function in a state of disarray. Siege is notably ambiguous about its setting; there are subtle suggestions that the film takes place in a dystopian future, though the film could just as easily be ripped from yesterday’s headlines.

Siege is a film that wastes no time. Clocking in at a lean 83 minutes, the film leaps headfirst into the thick of it, and the first twenty minutes provide the movie’s most riveting and legitimately disturbing sequence. The opening premise is simple enough: a gang of violent, right-wing extremists take advantage of a police strike and crash a gay bar that runs contrary to their half-baked “ideology.” Events escalate quickly, and, in the film’s opening minutes, we witness a calculated massacre of the bar’s patrons. One man escapes the carnage and barricades himself in a neighboring apartment complex where a group of heroic residents agree to protect the survivor against the fascists. (Those of you who have seen VFW will note the undeniable similarities between that recent release and Siege.)

Video quality is impressive, despite the occasional instance of print damage. Severin’s 2k scan of the original negative is sharp and the color palette is vivid and varied, despite the lion’s share of the film nocturnal setting. Audio quality is equally above average, and an eerie, Carpenter-esque score made me wish that Severin had released an accompanying CD soundtrack. Indeed, music is deftly weaved throughout the film, enhancing the film’s rising tensions and claustrophobic atmosphere.

Severin has included two noteworthy extras. Most significantly, there is an extended cut—apparently made for eastern markets—that features a ten-minute prologue. While we are treated to a few additional moments with our apartment-dwelling heroes, the extra footage largely focuses on the chief antagonist —-appropriately named “Goose” a la “goose-stepper”—as he torments his terrified wife behind closed doors. This extra bit of story is by no means essential, but I appreciated the additional character development. (I would, however, argue that the 83-minute version is the superior cut.)

A commentary track features Paul Donovan explaining the impetus for and logistics behind Siege’s two-week shoot to a fawning Jason Eisener (director of Hobo with a Shotgun). Despite Eisener’s off-putting approach to the discussion, it’s an entertaining commentary with a lot of engaging information. A trailer is also included. For those who love their cardboard, an attractive slipcover with alternate artwork completes the package.

I thoroughly enjoyed Siege. It is a successful hybrid of action and social commentary in the mold of Carpenter and Romero. Donovan and O’Connell knew exactly what they wanted to achieve with this project, and the execution is pitch perfect. Without giving anything away, I’ll also note that the film poses compelling questions about the dangers of the enemy within. Transcending its exploitation roots, Siege asks how we might rehabilitate governmental agencies that are already rotten to the core. Severin’s blu-ray offers a solid transfer and an impressive pair of supplements. This Canadian thriller comes highly recommended.