Tag Archives: John Carpenter

John Carpenter’s Starman

John Carpenter usually has a flair for the macabre and the darkly mysterious forces that our world and others have to offer, but such is not the case with Starman, a touching, tender science fiction story showcasing one knockout of a performance from Jeff Bridges.

When an extraterrestrial spaceship crashes somewhere in the Midwest, the being living inside wanders out and takes the form of a woman’s (Karen Allen) deceased husband to make her a little less jumpy, which is an interesting strategy. So begins a road trip to an extraction point in Arizona with her sort of held hostage but quickly warming up to this curious, childlike extraterrestrial who slowly learns what earth life is all about. Meanwhile various factions of the government including an amoral NSA asshole (Richard Jaeckel) and a pacifist scientist (Charles Martin Smith, terrific) pursue them all over the region but mostly just trip on their shoelaces. Bridges is absolutely brilliant as the alien, infusing a truly otherworldly quality into his gentle, restrained performance full of distinct mannerisms, expert physicality and beautiful subtleties. The chemistry between the two of them is so good you can practically feel it sparkling around the in the air. Allen’s performance works wonders too, beginning on a sorrowful note and eventually opening up to hope and happiness once again.

This is essentially a story of loss, and how one can deal with it. Granted there’s not a lookalike space alien out there for everyone who has lost someone but Bridges’s presence feels like an essence that could be any type of good, helpful quality that enters someone’s life following such an incident. This is the type of compassionate, heartfelt film that leaves a warm glow in the living room when the credits dim, and Carpenter blesses it with his trademark touch while giving it a slighter, brighter atmosphere than usual. The score by Jack Nitzsche is also a brilliant composition that adds to everything I’ve outlined above. Great film.

-Nate Hill

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John Carpenter’s Assault On Precinct 13

What makes John Carpenter such an incredible filmmaker? Many things, but one skill he has is being able to make a terrific story come alive whether he has a huge budget or not, whether it’s a giant high concept story, or a lean, mean, minimalist chamber piece. With Assault On Precinct 13 he’s got a few guns, a few cars, a few actors and one derelict police station, and the result, although not among his best work, is one nasty little urban exploitation feature that entertains and packs a bloody, visceral punch. The premise is gloriously simple: Several spectral, inhuman gang members chase a witness into an almost shut down precinct with intentions on killing everyone inside. One intrepid Deputy (Austin Stoker), a mysterious career criminal (Darwin Joston), a plucky secretary (Laurie Zimmer) and others are all that stands between these marauders and all out warfare. It’s a siege flick, a cop flick and an action picture all in one and works because of how low key it all is. The assault on the building itself is showcase low budget cinema and really well done as multiple silenced weapons shred through the doors and windows, but my favourite sequence is an earlier one in the film. As the gang prowls the desolated, decayed LA streets looking for suitable vehicles to hijack, a lone ice cream truck driver (Peter Bruni) finds himself right in the crosshairs of these heavily armed psychos. Then as if that isn’t bad enough, a little girl wanders up to purchase a frozen treat and, non discriminately, is gunned down in cold blood. It’s a shocking scene on its own just for the fact that Carpenter had the balls to do it and in fact on Robert Rodriguez’s Director’s Chair interview he said that he probably wouldn’t have gone that far had he made the film these days. What’s worse for me is that the girl is played by Kim Richards who starred as Tia Malone in Disney’s Escape To Witch Mountain, a film I grew up with and saw hundreds of times as a kid, so thanks John for ruining my childhood with that. Jokes aside it’s a galvanizing scene from beginning to end and even if there are way better Carpenter flicks out there overall, it’s probably one of the best sequences he’s directed in an otherwise solid pulpy action flick. Gotta mention Carpenter’s original score too which, as per usual, is brilliant.

-Nate Hill

At play in the Fields of Cullen: A Look at the Director’s Cut of London Fields by Kent Hill

I must confess I am in the same boat as my learned colleague Mr. (Paul) Rowlands of money-into-light.com, when it comes to an interest in films marked by some form controversy. Well, not solely controversy, but the types of films that have been long-suffering passion projects finally seeing the light of day, or long overdue restorations of genuinely overlooked masterpieces that may or may not have suffered the same fate as the picture that I shall, in these words following, discuss. It is the wretched crime of the industry at large to present grand achievements in aborted states – the director’s vision left on the cutting room floor, or in the parlance of our times, designated to a file on some mass storage device.mathewThe embattled figure in this saga is filmmaker Mathew Cullen and his stunning debut, London Fields. A slick and stylish noir, bombarded by flashing images of humanity’s chaos, swirling around  and serving as the world beyond that which we shall traverse with the movies’ delightful assortment of strange and sympathetic characters. Into the urban sprawl, at the center of this film’s universe, comes the melancholically-serene presence of Samson Young (Billy Bob Thornton), who we learn has traded his own stateside shithole for the shabby chic and eccentrically opulent abode of Mark Asprey – a disembodied Jason Isaacs.static1.squarespace.comBut this is not where our story begins. Our story begins with a murder.

A death that was seen coming by its victim, along with the hook being that the killer remains faceless until the movies’ final moments when we discover exactly who our Keyser Söze is.x1080-38ESo we have Thornton/Young, a man that has to live his stories. Being a natural voyeur, he soon becomes intrigued and infatuated if you will, by the astonishingly sexy and magnetic presence of Nicola Six (Amber Heard), whom I have enjoyed since she appeared in John Carpenter’s last effort, The Ward and again in the truly awesome guilty pleasure that is Drive Angry with the quintessential renaissance man himself, Nicholas Cage.London-Fields-Featured-ImageShe has power both in character and in substance. She is a woman who has flirted with the perilous, courting intrigue, danger, the playful and the despicable. And this it would seem is her last hurrah . Bringing into the final web she will spin the polished bravado of Guy Clinch (Theo James), and the personification of grotty goodness, Keith TalentJim Sturgess taking his Cloud Atlas Scottish football hooligan character to its apex.

 

These crotch-led power-mongers think they have our girl Six clocked and at their mercy. The key portion of that sentence being, ‘think’. Because this is all ruse, all part of Nicola’s game, indeed part of how Nicola (we take from the shards of back story given) has lived out her existence until its brutal, bloody climax. Young/Thornton watches and listens along as Six leads the boys into her little traps, playing each against the other in the midst of their own debauched  and dysfunctional existences – Clinch’s disintegrating family life and Talent’s quest to become an all conquering champion of darts.MV5BZmYyNjAwMjQtNDBiYy00YWI0LWI5OTQtOTJhZDYyNTJlOTI2XkEyXkFqcGdeQXVyNjUwNzk3NDc@._V1_If it all sounds a bit nutty (wait till you meet Chick Purchase), I say now, don’t be afraid. The juxtaposition of comedy, tragedy, sex, violence, a musical number and the bizarre nature of Nicola’s game is an easy pill to swallow. For the casual multiplex visitor, yeah, maybe not – but this is a picture that had me from start to finish and brought to mind fond memories of the time when it was my privilege to witness another spectacular director’s cut in the form of Wim Wenders’ Until the End of the World – an equally luscious and absurdly-infectious cocktail of cinema.b0be7af53fa5c87a98786b212a5a1f17I have followed the press surrounding London Fields and waited for such an opportunity as I have thus been presented with, which is to experience the film as the director always intended it to be seen.5917e9efb12a157c32b854dbd16ed744912a0557 This being the case, I have in the interim sought out and devoured Martin Amis’ gorgeous darkly comedic, mysterious murder source material and also the theatrical version. So, if these words I write carry any weight at all with you, please believe my sincerity when I urge you, nay, implore you – seek out this, the director’s cut of London Fields. It is a heartbreaking urban-dystopian twisted noir love poem that, thank God, exists for us all to watch, to ponder, to cinematically wolf-down. Bon appétit, dear viewer.London-Fields

Actor’s Spotlight with DAVID CLENNON

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We have a very special guest, someone who needs no introduction. Our latest addition to the Actor’s Spotlight series is Emmy Award-winning actor, David Clennon. Mr. Clennon has a career spanning decades, working with such auteurs as Bob Fosse, Bob Rafelson, Phillip Kaufman, Stephen Gaghan, David Fincher, Paul Schrader, and John Sayles. He’s collaborated twice with Clint Eastwood, three times with Hal Ashby, and four times with Costa-Gavras. David memorably starred as Palmer in John Carpenter’s horror classic THE THING. He is also no stranger to television, with many featured roles in HOUSE OF CARDS, E.R., THE WEST WING, THIRTYSOMETHING, HBO’s seminal AIDS drama …AND THE BAND PLAYED ON, and an Emmy winning turn on HBO’s DREAM ON. Mr. Clennon’s most recent projects are the CBS drama series CODE BLACK, joining the new season as Colonel Martin Willis, as well as Joseph Culp’s new film, WELCOME TO THE MEN’S GROUP where he stars along with Stephen Tobolowski and Timothy Bottoms. The film is now On Demand.

Catch WELCOME TO THE MEN’S GROUP from your favorite streaming provider below:

Amazon

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iTunes

John Carpenter’s The Fog

John Carpenter’s The Fog is such a great campfire ghost story that it literally starts off with a campfire of its own, told by wistful sea captain John Houseman in a role that feels like it was meant for Donald Pleasance. He spookily regales a bunch of youngsters one cold coastal night: Long ago, a mysterious schooner crashed against the rocky landscape of Antonio Bay in a dense fog, for reasons slowly made clear. A century or so later, the fog returns, and those onboard come with it seeking revenge. Speaking of the coast, that vast, gorgeous California shoreline is a perfect backdrop and character all it’s own in Carpenter’s tale, the title credit appears over a picturesque beach, setting the ambience of the seaside region perfectly. Carpenter always values atmosphere and suspense above all else, his films have some of the most delicious slow burn setups out there, and the ethereal first act before the fog even shows up is one of the best extended sequences he’s ever done. As far as plot and character goes, the film has a cool Robert Altman vibe to its ensemble, from Hal Holbrook’s nervous priest, Jamie Lee Curtis’s plucky hitchhiking artist, Adrienne Barbeau’s sultry radio DJ and more, they all work in round-table fashion to get their stories across. They and others find themselves suddenly stranded in the approaching haze and hunted by silent, sword wielding zombie pirates who are more than a little pissed off that their boat crashed. The real treasure here is Carpenter’s original score, one in a long line of brilliant compositions. The main theme is a restless, jangly electronic cadence that feels both melodic and laced with doom, while quieter synth chords are infused with church bell cues elsewhere to bring the soundscape alive as only Carpenter can. This is a brilliant horror film, my third favourite Carpenter after Halloween and The Thing, and never fails to be as effective, chilling or beautiful to behold with each revisit as it was the first time I saw it.

-Nate Hill

Halloween Double Bill: 1978 and 2018

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Frank and Paul are back, this time to discuss John Carpenter’s 1978 masterpiece, Halloween and how it stacks up to David Gordon Green’s direct sequel. They also discuss the Rob Zombie remake as well as the legacy of the franchise and how it has endured over time.

David Gordon Green’s Halloween

David Gordon Green’s update on John Carpenter’s Halloween is currently slashing its way through theatres, and aside from a few nit-picky asides, it’s a winner, both in terms of a genuinely scary horror and as the long awaited sequel to a film that practically reinvented the printing press of the horror landscape.

The new Halloween is sleek, vicious, aesthetically pleasing and brings back Michael Myers to do far more killing than he ever did the first time around, as this takes place in a universe bereft of any other sequels, an interesting choice which gives the it a fresh, immediate vibe. Also back is Jamie Lee Curtis’s Laurie Strode, who has calcified into a paranoid, blunt realist who doesn’t so much worry if Michael will come home, but just somehow knows it in her bones. Judy Greer is fantastic as her estranged daughter Karen, Toby Huss provides great comic relief as her husband and Andi Matichak is a sensational find as Laurie’s granddaughter Alyson, who echoes both the resilience and vulnerability we remember in Laurie when she was her age. Will Patton also kicks ass as the Haddonfield Sheriff’s deputy, always great to see him.

It’s nice to see references that aren’t overt or forced, but woven into the narrative almost seamlessly and with purpose. Many instances feel serendipitous, and as the infamous classroom scene always intones and reiterates here, fate is an inexorable bitch from which there is no escape. Green and his team have lovingly made Michael the relentless stalking Shape we fondly remember, using fluid tracking shots, lingering suspense, mounting dread and those classical music cues to herald his arrival on the fringes of nocturnal suburbia like a monster in a bad dream. There are impeccably orchestrated scares involving a closet and a motion sensor light that are impressively effective and nerve shredding. There were a few things that felt dumb, like the extended involvement of a Dr. Loomis proxy called Sartain (Haluk Bilginer) who at first is welcome until his arc gets inexplicably loopy, as well as some ham fisted writing for Alyson’s male friends, one of whom is so irritating I wish they’d casted an actor who looked and sounded like less of a ripe cheese, but oh well, at least he’s short lived.

Now, my favourite thing about the film: that beautiful score, and I’m not just referring to the original jangly tune. Carpenter himself, his son Cody and Daniel A. Davies worked together to not only rework the iconic theme a bit but compose swaths of new stuff, atmospheric passages and nightmarish synths that are instantly worthy of the main theme. This is definitely the best sequel since the original Halloween 2, which can be considered a companion piece to Carpenter’s first anyways as he reportedly directed chunks of it. This feels like a slasher should, but it’s also smart, deliriously stylish and scary in that elemental way where it’s not the violence itself that haunts the experience, but the spaces in between where Michael is lurking with intent and the suspense builds. That’s what Halloween is about.

-Nate Hill