Tag Archives: Escape from New York

30 Days of Madness, Day 28 — Prince of Darkness (1987)

by Tom Kapr

Wherein I attempt to watch one new-to-me horror film every day of October till Halloween and write a quick review. I will end my review with a letter grade like we do on our podcast (A, B, C, D, or F–pluses and minuses are for the non-committal!) and with the movie’s rank on my Flickchart.

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“Say goodbye to classical reality, because our logic collapses on the subatomic level into ghosts and shadows.”

Written & directed by John Carpenter.

Starring Donald Pleasence, Victor Wong, Dennis Dun, Alice Cooper for about a minute, and a bunch of white people with bad hair.

In my last review of Christine, I lamented how unfairly forgotten and underrated it was compared to Carpenter’s other work. With Prince of Darkness, I get it.

The slow build toward apocalypse is good and tense (at least when Mustache McGee and Lady Hockey Hair aren’t making out and having inscrutable conversations), helped along by Carpenter’s soundtrack and the acting talents of Pleasence as a priest from a secretive Catholic sect and Victor Wong as an eccentric quantum physicist. But then about halfway through it kind of stalls and just plateaus. The freaky things that start happening are undercut by underreaction from characters almost across the board. It starts to crescendo again, but then there are weird scenes that go nowhere, leading to a pretty trifling “apocalyptic” climax. It doesn’t help that the screenplay’s grasp of theology is tenuous at best, so it all feels rather silly.

As with any Carpenter flick, a lot of the special effects are really well done, but the philosophy behind the homeless zombie horde was a bit insulting. Every homeless person in the vicinity of this parish immediately becomes part of a hive mind, but not the scientists or students, because, what, they have better brains and aren’t susceptible? Not until they get physically infected, anyway. There’s even a conversation about it when the physicist is comparing their behavior to that of the ants, which do have a hive mind, and the other bugs and creepy crawlers that start showing up. It just draws an uncomfortable parallel, as if the homeless are on the same plane as the other vermin. It’s not Carpenter’s most nuanced writing.

And that’s too bad, because the idea of crossing the usual Judeo-Christian religious traditions with quantum physics in an apocalyptic plot is unique, and would be fascinating, if the religious part of it was treated with as much respect as the physics part. If only the entire script was as good as that excellent line from Victor Wong’s character that I used at the beginning of this review.

I also said in my Christine review that this would fill the remaining gap in what I consider the “classic Carpenter” era–1976 through the 80s. That is, the era beginning with Assault on Precinct 13, which put him on the map and allowed him to make Halloween, which catapulted him to being one of the premiere directors in Hollywood working in the horror, sci-fi, and fantasy genres. Through the 80s, he made film after film that cemented him as a cult classic director.

I didn’t start watching R-rated horror and sci-fi until the late 90s. I was in high school, and Escape from L.A. was my introduction to Carpenter, though I didn’t know who he was at the time. I wasn’t even fully aware that it was a sequel. But I developed a kind of affection for that film and for Snake Plissken as a character. I had already been a fan of Kurt Russell. In college, I saw Vampires, and by the time I saw Ghosts of Mars I knew Carpenter’s reputation and had already begun familiarizing myself with The FogThe ThingStarman (which I’d seen part of as a child and was freaked out by it), Big Trouble in Little China (a personal favorite and a film that is more important than it gets credit for), They LiveHalloween, and the original Escape from New York. Unfortunately, Ghosts of Mars was a terrible movie, but I’d become a late-blooming Carpenter fan who figured it was just a case of a master filmmaker losing his edge.

Prince of Darkness isn’t the only film of his from his “classic” era that I’m not sold on. I’m pretty indifferent toward The Fog and found Assault on Precinct 13 too disturbingly violent to be enjoyable. (I just don’t need to see little kids getting gunned down in the street in what is essentially a basic action movie, though an important one. Even with something like City of God, I’d rather not watch that kind of thing.)

Nevertheless, I think Carpenter, even post-Ghosts, remains one the most fascinating and respectable filmmakers in history. Now I need to fill in the pre-Assault and early-90s gaps. And I’m especially interested now to see In the Mouth of Madness. I did not realize until today that it is the third in what Carpenter calls his “Apocalypse Trilogy,” after The Thing and Prince of Darkness. That is a fascinating trilogy of apocalyptic themes–one extra-terrestrial in nature, one mixing Judeo-Christian religious tradition with quantum physics, and the third an exercise in Lovecraftian horror.

Final grade for Prince of Darkness: C

My Flickchart ranking: #1629 (out of 3273, a relative 50/100)

A Buried Cinema review — They Live

By Tom Kapr

John Carpenter is one of my favorite writer/directors of science fiction, fantasy, and horror cinema. From 1978 to 1988, he made some of the best, most memorable, and most influential films of decadeHalloween was so influential that it popularized an obscure sub-genre of horror with which we are now are so regrettably familiar, the slasher film. Escape from New York was likewise instrumental in popularizing the dystopian anti-hero. Starman is one of the few films about a benevolent alien coming to earth that isn’t pure kiddie fare, and makes some of cinema’s most profound statements about humanity. Big Trouble in Little China had a firm hand in bringing kung fu into American movies. And then there is The Thing, arguably the greatest and scariest movie about a malevolent alien coming to Earth ever made.

There are two things you’ll see that are constants in John Carpenter’s classic thrillers. The first and more obvious of the two is his practical effects, which put to shame many of today’s films of the genre. The second is his pacing, which lets the tension build up slowly but steadily until all hell breaks loose. They Live is no exception.

 

 

The basic plot is that an alien race has taken over Earth through subliminal messages and live among us disguised as humans. On billboards, in magazines, on T.V., everywhere humans look, there are subliminal messages that say things like “obey,” “marry and procreate,” “watch T.V.,” and “stay asleep.” A drifter named Nada (played by Roddy Piper) gets ahold of an underground human resistance group’s special sunglasses, which allow him to see the aliens and their messages for what they truly are. In one of my favorite moments, he looks at the cash in a man’s hand and sees that what it really says is THIS IS YOUR GOD.

 

 

The alien effects are as basic but as effective as can be, and are trademark John Carpenter. And, in keeping with Carpenter’s patient pacing, we don’t actually see the aliens until about a half-hour into the film. It gives the audience time to become complacent with the world’s normalcy, much like the characters in the film. When Nada is assaulted by a couple of aliens disguised as police officers, he takes them out, then takes the fight to the alien leaders. The final half-hour is almost constant gunfire and very violent, but always moving the plot forward as Nada seeks to stop the signal that is keeping the city’s inhabitants blind to the truth.

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