Writing on John Carpenter’s cinema usually adheres to a few safe subjects: his pulsating synth scores, his ingenious use of negative space, his signature 2.35:1 frame, (specious) comparisons to Howard Hawks, etc. Ideally, his oeuvre is ripe for analysis, so formally and tonally consistent is his cinema, so rigorous the progression of his favorite themes and subjects. Phases begin and end, roughly. Experiments can be recognized, one-offs noted, dozens of through lines traced. And yet Carpenter, among the most coherent of filmmakers in a variety of contexts, is seldom subject to thoughtful criticism, and if so, is largely marginalized to a handful of admittedly excellent but overly-canonized and under-representative works.
If clung to for bruising, relentless films like Halloween (1978), The Thing (1982), Assault on Precinct 13 (1976), Prince of Darkness, and They Live (1988), Carpenter comes off rather severe, even despairing. One cannot deny this element in his work, a powerful vein...
If clung to for bruising, relentless films like Halloween (1978), The Thing (1982), Assault on Precinct 13 (1976), Prince of Darkness, and They Live (1988), Carpenter comes off rather severe, even despairing. One cannot deny this element in his work, a powerful vein...
- 2/6/2015
- by John Lehtonen
- MUBI
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