John Carpenter: The Collection

Assault on Precinct 13

Introduction

Inspired by Rio Bravo, Assault on Precinct 13 was John Carpenter's first studio film, made in 1975 and released a year later.

In a slum area of South Central Los Angeles a little girl is killed by a gang when they shoot an ice cream man. Her father follows their car and shoots his daughter's murderer, before fleeing and taking refuge in the station house at Division 13, Precinct 9. Meanwhile, a prison transport bus moving prisoners across town is forced to make an emergency stop at the station when one of them becomes seriously ill.

Like Howard Hawk's western, Assault on Precinct 13 is a siege film, where a gang of criminals surround a police station and the authorities must join forces with prisoners in order to survive.

Video

Soft and a little grainy, but not too bad for a film now in its 4th decade and, considering the events take place largely at night, there are no major issues with definition.

Audio

The Dolby Digital stereo track is clear enough and the synthesizer soundtrack by John Carpenter perfectly conveys the dark mood.

Extra Features

John Carpenter provides a reasonable commentary, but it's a solo effort with dead air that would have been filled if he had been joined by another cast or crew member.

There is a Q&A session where Carpenter and Austin Stoker field questions from a screening audience and the moderator. The sound quality isn't great but there are some points of interest if you listen hard enough.

There is also some developmental material including production stills and storyboards, a couple of radio spots and a theatrical trailer.

Conclusion

Despite being low budget, amateurishly acted, made by an inexperienced filmmaker and a re-imagining of a classic western, Assault on Precinct 13 is a fantastically enjoyable B-movie. John Carpenter shows himself to be a master of controlling tension, with some moments of levity and some of real trepidation.

The performances by Austin Stoker and Darwin Joston who play Ethan Bishop, the cop overseeing the closing of the station and unrepentant killer Napoleon Wilson respectively, are very good and some of the scenes between Joston and Laurie Zimmer's character Leigh have some tangible sexual tension.

Carpenter would go on to make better films, but this one has stood the test of time and remains a classic siege film which was enjoyably remade in 2005 by Jean-François Richet.

Halloween

Introduction

Before Jason and before Freddy, there was a psychopathic serial killer who caught the public's imagination and became a household name: Michael Myers. After working together on Assault on Precinct 13, John Carpenter and Debra Hill wrote a screenplay for a horror film - Hill providing the babysitter element by drawing on her own experiences and Carpenter adding the 'evil' factor.

Opening with a long one-take shot, influenced by Touch of Evil, we see someone stalking a house before entering, picking up a large kitchen knife, walking upstairs and stabbing a young woman to death. The killer is revealed to be Michael, a six year old boy.

Fifteen years later and Dr. Sam Loomis (Donald Pleasence) is travelling with a nurse to the mental hospital where Michael has been kept ever since in order to transfer him, as he is now 21, to a maximum security prison. As they approach the gate, several gowned inmates are milling around and whilst Dr. Loomis gets out to contact the hospital staff, Michael jumps on the car, attacks the nurse and takes the car.

As Loomis has studied Michael since he was a boy he knows that he is going home, to Haddonfield, Illinois where his younger sister Laurie (Jamie Lee Curtis) now lives under the name Strode. As she babysits her neighbours children on Halloween, the worst night of her life begins.

Video

Shot in Panavision (2.35:1 anamorphic), this looks very good with deep blacks and vibrant colours; there is some noise on some of the low-lit scenes, but nothing to detract from the otherwise fine picture.

The cinematography is excellent and began a long relationship between John Carpenter and Dean Cundey. The film is remarkably bloodless, relying on tension and the presence of 'The Shape' played by Nick Castle, to give Michael a real menace just with sly reveals in shadows.

Audio

The disc has the options of the original mono, a stereo track or Dolby Digital 5.1. Over the years I have watched the film with each and actually prefer the 5.1 as the surrounds provide much more tension through the atmospherics and Halloween features the finest score that John Carpenter ever wrote and one of the best in the horror genre. It's a relatively simple soundtrack but stunningly effective - if you watch the more scary scenes with the sound off, they lose almost all of the tension.

Extra Features

This set contains disc one of a two disc set, but since the second disc only contains the TV version, you're not really missing much.

The commentary by John Carpenter and Debra Hill is well delivered and informative, with Carpenter doing most of the talking, but what Hill has to say is worth hearing.

There is the Halloween Unmasked retrospective from 2000 in which Carpenter, Hill, Moustapha Akkad, Jamie Lee Curtis and others talk about the film and its impact on their careers.
The rest of the extras are comprised of two galleries, one with stills and posters and the other with behind the scenes photos, there are biographies, trailers, TV spots, radio spots and an interesting trivia section where you can flick through miscellaneous facts about the film.

Conclusion

In order to review this I broke a viewing habit that has dated back some years - I only watch this on October 31st. Although it wasn't Halloween last night, I don't regret it and realised I should probably watch it more often than annually.

Made for just $300,000 and shot in 20 days, this was low budget filmmaking at its best. Everyone's friends helped out, make up was done in a Winnebago and some, including John Carpenter and Debra Hill, worked for free. Halloween gave the then TV actress Jamie Lee Curtis her big break, spawned a huge franchise and led to the whole stalker/slasher sub-genre. It is one of the most influential horror films ever made and still retains its power to scare and shock even now - Halloween is one of the greats of the genre and a personal favourite.

The Fog

Introduction

Approaching the party to celebrate its centennial year, Antonio Bay in California is terrified by a series of murders that coincide with the mysterious arrival of a cloud of fog. The priest, Father Malone (Hal Holbrook) finds his grandfather's diary which explains how the town was built using gold belonging to a wealthy leper whose boat, the Elizabeth Dane, was intentionally led onto the rocks by the town's founders and now the dead are back for revenge.

Holding the story together is Stevie Wayne (Adrianne Barbeau), a mother who owns the KAB radio station and passes on information to local sailors about adverse weather conditions. Her son found a piece of wreckage - a bit of driftwood with 'Dane' engraved on it - and from her vantage point in the lighthouse, can see the fog approaching against the wind.

Told very much as a ghost story, The Fog begins innocuously enough but the tension escalates as the body count rises to a thrilling conclusion.

Video

Unlike the regrettable and impotent remake, the fog is either real fog made using a 'fogger' or dry ice and it's surprising that such archaic techniques produce an effect far superior to anything done by CGI.

The transfer is pretty crisp and clear of any major grain or noise, though some is evident occasionally throughout the film. For a movie of limited budget, the pirate effects are remarkably effective as they are shot in shadow or backlit to avoid showing unnecessary detail that would probably spoil the illusion.

Audio

Both the stereo and 5.1 soundtracks are clear, benefiting from a fine score by John Carpenter, but the 5.1 has the edge as the atmospherics and surrounds add to the tension, especially in the scenes when the fog is present.

Extra Features

The main feature is a commentary with John Carpenter and Debra Hill which is informative and a good listen. As with most Carpenter commentaries, you can hear him light up at regular intervals and, given how much he smokes, it's a wonder he's still alive!

The Tales From The Mist: Inside "The Fog" is a fairly comprehensive piece, lasting 28 minutes, about the project with contributions from most of the main cast and crew.

There is also a theatrical trailer - there almost has to be, doesn't there?

Conclusion

The Fog is not one of Carpenter's best films, it doesn't have the long-term impact of The Thing or Escape From New York or the groundbreaking nature of Halloween but it's still a more than watchable ghost story.

Although the effects are a little cheesy by today's standards, it's incredible that they are far more effective than those created by computer in Rupert Wainwright's appallingly bad 2005 remake. Just because something has a bigger budget, it doesn't mean that you care about the characters or are emotionally invested in the story - this is precisely the case for The Fog where it was a relatively small film with surprisingly big names (Jamie Lee Curtis, Janet Leigh, Hal Holbrook) but one that was interesting and extremely well edited.

Whilst no classic, The Fog is an enjoyable movie and a rare example of an American ghost story that, if you haven't seen it, is worth catching.

Escape From New York

Introduction

In 1988, when crime rose 400%, the authorities erected a wall around Manhattan Island, turning it into a huge jail, ruled by the convicts, chiefly The Duke (Isaac Hayes). Nine years later, when the President's plane is hijacked and crashes into a building on the island, they send in Snake Plissken (Kurt Russell) to rescue him, as he's the only man who can.

To ensure the dangerous criminal Plissken's co-operation, he is injected with two tiny bombs on a timer, giving him 23 hours to get the President (Donald Pleasance) out of Manhattan, when they will deactivate the devices and give him a pardon.

With the clock ticking, Plissken must battle his way across New York against the most violent criminals in America, rescue the President and escape before his arteries explode.

Video

Well presented in the original aspect ratio of anamorphic 2.35:1, this has a decent picture which could be better had it been completely remastered but, in its current state, looks fairly good. The CG effects and model work probably looked outstanding in 1981, but are fairly primitive by today's standards. Despite this, they work within the film.

Audio

There are two Dolby Digital tracks: 5.1 surround and 2.0 stereo. Whilst there's nothing wrong with the stereo, the 5.1 has the edge. Unsurprisingly, John Carpenter's score is excellent.

Extra Features

Being old mates, the commentary with John Carpenter and Kurt Russell is both enjoyable and informative as they joke and reminisce.

Return to Escape from New York is an interesting 23 minute retrospective containing interviews with many of the principal cast and crew.

The 'New and exclusive' John Carpenter interview is an amiable and revealing half hour chat about his career to date.

There are three trailers and the film's original beginning, 'Snake's Crime' included.

Conclusion

Post-September 11th 2001, it's very strange seeing the Twin Towers in films, especially when the plot concerns a hijacked plane hitting a Manhattan skyscraper and several key scenes take place on and in the WTC!

Whenever a contemporary post-apocalyptic film is made, such as Doomsday or District 13, you immediately recognise they are heavily influenced by Escape from New York. Snake Plissken is such a great character and one of the all-time anti-heroes with his distinctive look and 'f**k you' attitude.

It may be a stretch to believe that Donald Pleasance is the President of the USA, but it doesn't really matter, as other characters like Brain, Maggie and The Duke and his crazy pimped-out pink Cadillac with chandelier headlights and mirror-ball are just brilliant.

Escape from New York is one of those films you can put on at any time and enjoy every minute - it doesn't demand your full attention, or to be taken seriously; it's a joy to watch.

The Thing

Introduction

Something's amiss in the Antarctic. When Mac (Kurt Russell) and the rest of the men at United States National Science Institute Station 4 take in a husky that was being hunted by two crazed Norwegians in a helicopter, they had no idea what chain of events they had started.

They decide to investigate but find the Norwegian station destroyed, a pile of burnt bodies and evidence pointing to the discovery of a UFO buried in the snow and ice. When they find their own huskies dead and some bloody clothes but with no sign of a victim and no one missing from the team, it's clear something is not right.

One by one, the Thing takes more victims and takes their form causing the men turn on each other, unsure of who is really human.

Video

It's a real shame that they never got round to releasing an anamorphic version of The Thing on DVD; even this, the 2003 re-release has the same letterboxed picture as the original 1999 version. The picture is OK with some print damage evident and grain but nothing to detract from the film. The creature effects by Rob Bottin and the late, great Stan Winston are superb and have barely aged in the quarter century since the film was made.

I have yet to understand the reason to change the cover from a visually arresting image to that of the computer game, showing events that take place after the film.

Audio

The English 5.1 surround soundtrack is fine, with nothing in the way of crackles or hiss to detract from the uncharacteristic score by Ennio Morriconne - dark and moody which suits the film perfectly.

Extra Features

The commentary by Kurt Russell and John Carpenter is one of those rare tracks that doesn't turn into a backslapping love in as the two friends talk and joke through the film, providing plenty of information and interesting reminisces as they go.

The Thing: Terror Takes Shape is a comprehensive 80 minute making of, made some 16 years after the film and featuring contributions from most of the cast and crew. The rest of the extras pale in comparison to the excellent making of but are worth flicking through.

Conclusion

Based on the book 'Who Goes There' by John Campbell Jr. and a remake of Howard Hawks' The Thing from Another World, The Thing stands as both a seminal work in the career of John Carpenter, a perfect exercise in psychological terror and one of the rarest of rare things, a remake superior to the original.

Carpenter keeps the film tight, the tension high and doesn't wimp out when it comes to the ending - a lesser director would have gone for a 'Love Conquers All' happy resolution but thankfully Carpenter sticks with the downbeat tone right until the final credits. He also cast well, with Kurt Russell on top form and ably supported by the likes of Keith David, Wilford Brimley and Richard Dysart. There isn't a great deal of characterisation at the beginning but, as the numbers shrink, the characters become more fleshed out and developed, helped by some fine acting.

I think it's a great film, a fine DVD despite the letterboxed transfer and it's one that any self respecting horror fan should own. I look forward to owning it on Blu-ray.

Prince of Darkness

Introduction

Just as he did in Halloween, Donald Pleasance plays a character called Loomis, this time a priest who, following the death of an elderly clergyman, obtains the key to the basement of a derelict church in L.A. where a bottle containing satanic fluid has been secretly kept for over 2000 years.

He enlists the help of Professor Howard Birack (Victor Wong) and his PhD students to thoroughly investigate the ancient texts and the mysterious canister.

Unsurprisingly their research awakens the dormant evil, which begins to control the students and homeless folk outside (including one Alice Cooper!) and transform them into zombies. It's up to those not yet affected by the Prince of Darkness to put the genie back in his bottle before it's too late.

Video

As usual with John Carpenter movies, this is shot in 2.35:1 anamorphic widescreen and the transfer is very good. The blacks are deep and the colours vibrant, with fairly good visual effects for the time.

Audio

As well as the 2.0 stereo track that came with the original Momentum release, this Optimum disc has a 5.1 option that is just that little bit better - the surrounds are used sparingly, but to good effect. The film also contains another fine score by the director.

Extra Features

Sadly, just the theatrical trailer, unlike the now out of print Momentum disc that had a commentary.

Conclusion

Prince of Darkness is a missed opportunity, as it could and should have been an intelligent debate about the existence of God, the Devil, good and evil and the strength of faith versus science. For the first half, it is, but then seems to run out of steam and turns into a zombie movie, completely forgetting about the scientific theories that made the first couple of acts so interesting.

It's always good to see Victor Wong on screen and he makes a fairly convincing professor. Less believable is the romance between Brian and Catherine (Jameson Parker and Lisa Blount) and the zombies themselves.

This is the second time I've seen it and I've come to the conclusion that the film is flawed - it's not me who has failed to digest the material. Despite this, it's enjoyable and fairly engaging, just not Carpenter's best.

They Live

Introduction

John Nada (Roddy Piper) travels to L.A. and gets a job on a construction site. As he has nowhere to stay, co-worker Frank (Keith David) takes him to a transient camp, where he gets a hot meal and a bed. Some of the residents watch a pirate TV station that gives them headaches.

Following a police raid on the church that broadcasts the pirate signal, Nada discovers a box of sunglasses and, when he tries a pair on, sees the world in a different light. They reveal subliminal messages to obey, sleep, consume, submit and watch TV written everywhere and some 'people' are in fact alien monsters who control society.

After shooting some aliens, kidnapping a TV presenter (Meg Foster) and going on the run, Nada must find out who made the glasses to learn the truth.

Video

A very good anamorphic 2.35:1 transfer, which just shows how effective matte paintings and primitive make-up were, and still are, twenty years later.

Audio

Dolby Digital 5.1 surround or 2.0 stereo and both are very good and the 5.1 is an excellent mix with good separation and clarity. Carpenter's fine score adds to the atmosphere and tension.

Extra Features

The commentary with John Carpenter and Roddy Piper is a rather loud and raucous affair, with the ex-wrestler dominating proceedings, but allowing Carpenter enough time at the microphone to make it an informative listen.

There are profiles of John Carpenter, Roddy Piper and Meg Foster in which they talk briefly on-set about their roles and the film.

The making of is not really worthy of that title, running at only 8 minutes and adding little.

There is also the semi-obligatory theatrical trailer.

Conclusion

They Live is a great mix of action, sci-fi and horror, with a surprisingly good performance by recently retired wrestler "Rowdy" Roddy Piper, who is well supported by Keith David.

It's impossible to talk about They Live without mentioning the scene where Nada tries to persuade Frank to put on the sunglasses and has to resort to force. The result is one of the longest fist-fights ever committed to celluloid, which needs to be seen to be believed!

Almost a prototype for The Matrix, the world in They Live is an illusion used to control humans for the benefit of the power elite - some aliens from around the galaxy in this case. Whilst not Carpenter's best known work, it is a fine piece of science fiction which deserves a wider audience.

Summary

Between 1976 and '88 John Carpenter had his 'golden period' where he made some classic movies but then something went wrong and he churned out junk like Vampires and Ghosts of Mars. The films in this box set represent most of Carpenter's best work, from the genre-defining Halloween to the brilliance of They Live.

John Carpenter may only have made less than 20 films to date, but his impact on other filmmakers and the horror genre is huge. It was only by watching these seven films in a week that I realised what a skilled director, writer, editor and particularly composer he is and his work with the much missed Debra Hill is almost impossible to quantify in its importance.



Many of these films have been released a couple of times already and several will be amongst most DVD collections. The re-issue of Prince of Darkness, despite the lack of a commentary, is to be welcomed as the 2002 Momentum release is out of print and is therefore a major selling point as Optimum haven't released it individually.

This is a cracking set, containing some classic films and some less known but thoroughly entertaining ones too. If, like me, you already own most of these then it's a plus point that all bar Prince of Darkness are available separately so you can fill in any gaps in your collection. It's a mystery why Optimum didn't make this a 10 disc box set by including Big Trouble in Little China, Christine and Starman as that would have made it, at least in my eyes, 'The Definitive John Carpenter Collection' but, as it is, this is a set that comes highly recommended.