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Posts Tagged ‘John Carpenter’

The Trail

Wednesday, March 22nd, 2023

One of the main reasons to do a Ronny Yu career retrospective is to see how the hell this great Hong Kong director ended up in another part of the world making (SPOILER FOR THIS REVIEW SERIES) BRIDE OF CHUCKY and FREDDY VS. JASON, so it’s relevant that as early as 1983 (at which point there were only three Jason movies, zero Freddys, and zero Chuckys) he was already doing horror movies. Funny ones, too. THE TRAIL is Ronny Yu’s fourth film, never available in the U.S. as far as I can tell, so at first I thought I wouldn’t be able to see it. But I discovered I could order a Region 3 DVD that Fortune Star released in 2010, and there’s also a blu-ray out there. That’s good news, because I really enjoyed this one.

Horror comedies will end up being a big chunk of Yu’s career, but he’ll mostly set them in the present. This one takes place in 1922, in what seems to be a transitional period between old traditions and the modern world. (I guess that describes most period pieces, in a way.) It’s the story of Ying (Ricky Hui, MR. VAMPIRE) and Captain (Kent Cheng, ONCE UPON A TIME IN CHINA, IP MAN 2 and 3), two conmen impersonating Taoist priests transporting corpses. (read the rest of this shit…)

El Diablo / The Resurrection of Broncho Billy

Thursday, February 9th, 2023

EL DIABLO is a mediocre 1990 made-for-cable western that I watched because it’s based on an old John Carpenter script. As a Carpenter-once-removed movie I thought it would make a good followup to yesterday’s ASSAULT ON PRECINCT 13 remake review.

The original script was written in the ‘70s, and was reportedly set to be Carpenter’s directorial followup to THE FOG, but he got nervous about doing a western. I couldn’t find any mention of the project in John Carpenter: The Prince of Darkness by Gilles Boulenger, but the last question in that great interview book is about why he never directed a a straight western. “There is a part of me that worries about making a western, that worries about the horses, that worries about ending up in a film I wouldn’t understand,” Carpenter said. “I don’t know why. I can’t explain that. Maybe people who had made westerns intimidate me. I don’t really want to compete with them. Perhaps I’m a coward, but I feel more at ease competing in the horror genre than competing with Howard Hawks or John Ford or any of the greats.” (read the rest of this shit…)

Halloween Ends

Monday, October 17th, 2022

HALLOWEEN ENDS, the conclusion to David Gordon Green’s HALLOWEEN trilogy, and part 4 in the HALLOWEEN series (timeline 3), is not what I expected. It’s not what anyone expected, or could’ve predicted. The trailers made it seem like they completely ran out of material. Oh yeah, Laurie fights Michael again. She already tried that in 2018 with 40 years of preparation, hidden weapons and a dungeon. She wanted to do it in HALLOWEEN KILLS but a riot started at the hospital, some asshole bumped into her and the staples on her knife wound tore open. But now it’s years later so she’s gonna do it spontaneously in her kitchen, looks like. Seems redundant.

Oh well. I had faith, because I’ve liked these movies, I like this director. And it paid off. That stuff is in the movie, but it works because it’s about so much more.

(You know I have to dig in deep with a new HALLOWEEN movie, so this is a HEAVY SPOILER REVIEW.)

The cold open takes place in Haddonfield on Halloween, 2019. A young man named Corey (Rohan Campbell, SANTA BABY 2: CHRISTMAS MAYBE) is called last minute to babysit for some rich couple. The kid (Jaxon Goldenberg) is a smartass. They watch John Carpenter’s THE THING together – an obvious but too-perfect-to-pass-up nod to watching THE THING FROM ANOTHER WORLD in Carpenter’s HALLOWEEN. Fears of Michael Myers are discussed. The kid points out that Michael kills babysitters, not kids. But Corey goes to the kitchen, hears a thump, comes back and can’t find the kid. The mansion is huge. A door is open. A knife is missing. The kid is screaming upstairs. (read the rest of this shit…)

Black Moon Rising

Tuesday, November 16th, 2021

I’ve been curious about BLACK MOON RISING (1986) – and many of you have recommended it to me over the years – for the specific reason that it’s based on a script by John Carpenter. According to the book John Carpenter: The Prince of Darkness by Gilles Boulenger, he wrote it in 1974 and sold it in late 1975 to producer Harry Gittes (GOIN’ SOUTH, ABOUT SCHMIDT), who does not have a credit on the movie. A decade later it ended up being directed by Harley Cokeliss (BATTLETRUCK, studio second unit director of THE EMPIRE STRIKES BACK) and rewritten by Desmond Nakano (BODY ROCK, LAST EXIT TO BROOKLYN) and William Gray (THE CHANGELING, PROM NIGHT, HUMONGOUS, THE PHILADELPHIA EXPERIMENT). They used Todd Ramsay, editor of ESCAPE FROM NEW YORK and THE THING, but otherwise it’s not any of Carpenter’s crew. Still, there aren’t too many fresh Carpenter-related projects out there for me to experience, so I went for it.

And I’m happy to report that it’s much more like a John Carpenter movie than THE EYES OF LAURA MARS, while having enough of its own thing going on to not feel like a Dollar Store knock off. It’s elegantly simple, using some standard thriller ideas but not the usual good guys, and it has that precious quality of feeling edgy and slightly futuristic by the standards of a long past era. Most of all it has 1986 Tommy Lee Jones as a cool, mysterious anti-hero who seems all alone, hated by his bosses and former colleagues as he works as a “freelancer” one last time. It was Jones’s follow up to THE PARK IS MINE and Billy Joel’s “Piano Man” video, where he plays “a real estate novelist who never had time for a wife” (unless IMDb is wrong and that’s just a guy who looks like him). (read the rest of this shit…)

Halloween Kills

Wednesday, October 20th, 2021

HALLOWEEN KILLS is the controversial new film from director David Gordon Green (YOUR HIGHNESS). It is a sequel to his 2018 film HALLOWEEN, which was a sequel to John Carpenter’s 1978 film HALLOWEEN, but not any of the other nine HALLOWEEN movies. It’s in the unusual (unprecedented?) situation of being a slasher movie that’s the middle chapter in an already planned and greenlit trilogy – I see it as part 2 of Green’s HALLOWEEN II series.

When I went to the first show on Friday I had already seen enough comments online to sense that many or most people disliked, strongly disliked, or flat out despised HALLOWEEN KILLS, in many cases sounding like they were prepared to live for decades as recluses building traps and practicing firearms on mannequins to prepare for when it comes for them again. I clearly don’t have my finger on the pulse of what other horror fans are looking for these days, because I’m positive had I seen it before hearing anything about it I would’ve figured it would go over well. As a guy who enjoys all but one of the HALLOWEEN movies on some level and will keep watching them over and over forever, I feel like it’s plain as day that KILLS has more on its mind than most of them, looks way better than most of them, and finds an approach that’s very different from what we expect or are used to, feeling fresh and new despite being more reverent of the first film than any previous sequel. It’s the kind of thing where if I didn’t like it so much I would have to at least respect it. But many people obviously don’t see it that way. (read the rest of this shit…)

The Shape of Evil: Confronting darkness through the ‘Halloween’ series

Wednesday, October 28th, 2020

Two years ago, but it seems closer to ten, a nice deputy editor for a new publication approached me to write a piece. He had been reading me forever and was working for this company with a bunch of money invested in it, could pay pretty well and expose me to some new readers not only on the web but a print magazine he compared to Rolling Stone. I said yes and we were going back and forth about what my first piece should be, and then my mom died.

Freelance gigs are usually a little stressful and all-consuming for me, but for some reason I still wanted to do it. Looking back at my emails, I was literally trying to schedule around the days off I had other than the one for the funeral. I agreed to write about the Halloween series, in conjunction with the upcoming David Gordon Green sequel. I watched all ten existing movies (including remakes) and came up with this piece that ties them all together thematically, in places addressing the grief and fears I was dealing with at the time. I took longer than I was supposed to and ended up with twice the agreed upon word count and I was so unsure anybody else would be interested that in my email I said, “If you don’t want it I understand, just let me know and I’ll use it on outlawvern.com and we’ll come up with something else for me to work on for you.”

Then the magazine (you will never see this coming) ran out of money, all the editors resigned, I don’t believe I ever got paid and the article could only be seen on the Wayback Machine. But I got no regrets because working on this helped me in a tough period of my life and gave me a better understanding of my relationship with the genre. So I’m proud to repost it here.

(I’ve kept their edits, so you’ll notice some British spellings in here.) (read the rest of this shit…)

The Shape of Evil: confronting darkness through the ‘Halloween’ series

Friday, October 26th, 2018

A new publication called Drugstore Culture recruited me to write some stuff for them, so over the past month or so I rewatched the entire HALLOWEEN series (including the two Rob Zombie ones) and wrote about it as a whole.

This is pretty different from my usual approach. I tried to dig non-judgmentally into the symbols of each chapter (even RESURRECTION!) to find deeper meaning we can apply to our current world or to things I’ve been going through in my life. I was surprised how much I found in III and 6, actually. It’s kind of a weird piece I think but perhaps obsessive in an unusual way, and hopefully some of you will like it.

By the way, I filed this before seeing the new one, so the bad news is I should’ve added a few lines about it, the good news is there are no spoilers for that particular one. Just ten other movies.

READ “THE SHAPE OF EVIL: CONFRONTING DARKNESS THROUGH THE ‘HALLOWEEN’ SERIES” ON DRUG STORE CULTURE

UPDATE:

They ran out of money before paying me and the websight isn’t even there but here it is on archive.org:

https://web.archive.org/web/20190121034337/https://drugstoreculture.com/halloween-movies/

 

Halloween (2018)

Monday, October 22nd, 2018

(Many SPOILERS in this review, I’m not gonna label all of them)

HALLOWEEN is the new HALLOWEEN in the HALLOWEEN series – the original HALLOWEEN series, not the remake, HALLOWEEN. HALLOWEEN takes place 40 years after HALLOWEEN and acts as if it is the only sequel ever made to HALLOWEEN. So really it could be called HALLOWEEN II, but maybe that would be confusing since there are already two movies called HALLOWEEN II: HALLOWEEN II and HALLOWEEN II.

Other than being produced by Blumhouse, this one’s not coming from any of the usual horror suspects. It’s the first horror movie, sequel or licensed property movie from director/co-writer David Gordon Green, who is best known in my opinion for writing the introduction to my book Seagalogy, but also directed GEORGE WASHINGTON, PINEAPPLE EXPRESS, JOE, STRONGER, etc. He wrote it with Jeff Fradley (Vice Principals) and Danny McBride, who he turned into an actor by having him play “Bust-Ass” in ALL THE REAL GIRLS fifteen years ago and continued with PINEAPPLE EXPRESS, YOUR HIGHNESS and Eastbound & Down. McBride is usually a comedy guy, but remember he also got killed by a faced xenomorphs in ALIEN: COVENANT. So he’s legit.

Since this is a return to the original series, with no dumbass Weinstein involvement, with Jamie Lee Curtis returning as Laurie Strode, and most surprisingly with John Carpenter executive producing and scoring for the first time since HALLOWEEN III: SEASON OF THE WITCH in 1982, there are some high hopes. If you’re not a fan of slasher sequels and want something that transcends them, you might be disappointed. For me, though, it’s a satisfying treat that revisits the series template and most important character with many scenes of great tension and without committing common franchise horror sins like obnoxious characters, overly polished look or intrusive rock ‘n roll soundtrack. (read the rest of this shit…)

In the Mouth of Madness

Thursday, October 19th, 2017

John Carpenter’s IN THE MOUTH OF MADNESS is as much a vibe as it is a story. It’s bewildered paranoia, fear of an impermanent reality, and the mystique of imaginary horror books with language so powerful it alters minds and taps into an ancient evil.

It starts in an insane asylum, where insurance investigator John Trent (Sam Neill, DAYBREAKERS) swears he’s been brought by mistake. He’s not crazy, he says. Later in the movie (and earlier in time) the idea is introduced that reality could change for everyone else, but not you, and then all the sudden you’d be crazy without having had to go crazy. Seems like just some bullshit philosophizing when he hears it, but we’ve seen into the future.

He tells a psychiatrist (David Warner, MONEY TALKS) his story. It all began when he was hired to find the missing author Sutter Cane. Cane is a giant Harry Potter sized phenomenon, described as “bigger than Stephen King” (who he shares a font with) but his stories sound more like H.P. Lovecraft with their unleashings of indescribable evils and what not. This all takes place during a rash of riots and mental health incidents across the country, one of which Trent happened to be a victim of. (read the rest of this shit…)

The Thing (1982)

Monday, October 31st, 2016

tn_thething“I don’t know what the hell’s in there, but it’s weird and pissed off whatever it is.”

In snow, no one can hear you scream. ‘Cause it’s cold. They stayed inside.

John Carpenter’s THE THING (1982) – not to be confused with Christian Nyby’s THE THING FROM ANOTHER WORLD (1951) or Matthijs van Heijningen Jr.’s THE THING (2011) – is straight up one of the best horror films achieved by mankind so far. It’s relatable but extraordinary, simple but original, blunt but ambiguous. It has quite possibly the most brilliant creature effects ever devised, or at least the only monster arguably weird enough to top ALIEN in the “well, shit, I never even thought of seeing anything like that!” department.

The Thing crash landed on earth some 100,000 years ago, and has only recently been unfrozen to raise a ruckus. A pessimist would say (as Wilford Brimley’s Blair does in the movie) that this is the type of shenanigans that could end the human race in a couple of years. An optimist would say hey, let’s just be thankful the flying saucer didn’t land properly in the first place, we got an extra 100,000 years out of that. (read the rest of this shit…)