John Carpenter has seen plenty of his films underperform when first released, only to turn into cult icons years later. But Big Trouble in Little China, Carpenter’s ninth feature film, didn’t just underperform. It was the biggest flop of his career up to that point, pulling in $1.1 million against a budget of $25 million. This ended Carpenter’s phase with the big studios and sent him back to the indie world. Big Trouble in Little China started on the page…
A John Carpenter film for the whole family! Which is odd enough on its own.
Christine is a solid early ‘80s horror movie that deserves its loyal following. It’s definitely in the upper half of Stephen King adaptations.
John Carpenter’s The Thing may end up the best movie I ever write about at Black Gate.
Escape from New York ended up a hit, grossing more than four times its budget, making it one of the most successful films in Carpenter’s career — and, unfortunately, one of his few hits of his most productive decade.
The Fog has enjoyed a surge of renewed appreciation over the last decade thanks to the reviled 2005 remake. Nothing makes a movie shine brighter than having the early-2000s horror rehash grinder try to deface it.
Uhm, Happy Early Valentine’s Day? In my analysis of John Carpenter’s career, I’ve now reached his third movie, the low-budget horror smash Halloween. It’s Carpenter’s most financially successful film. It’s his most influential film. And, starting with a famous November 1978 Village Voice article by Tom Allen that helped turn the director into a recognized auteur, his most critically analyzed film. So here I tread, timorously, to add to the massive cultural heap of Halloween. At least tackling the movie…
Today we bear witness to the John Carpenter’s first foray into professional filmmaking, shooting on a schedule and a budget. It’s called Assault on Precinct 13, and I don’t mean to spoil this up front for you, but it is a-ma-zing.
Inaugurating a feature-by-feature look at Carpenter’s 19 theatrical feature films. We begin at the beginning: Carpenter’s USC student film, Dark Star, the Spaced-Out Spaceship.
Cover by Michael Herring In the 1950s, Ballantine Books reprinted much of John Wyndham’s science fiction in the US with memorable covers by Richard Powers, including The Kraken Wakes (1953), The Chrysalids (1955), Tales of Gooseflesh and Laughter (1956), Trouble with Lichen (1960), and The Infinite Moment (1961). In the process they also made up new names for it, because, you know, America. So The Kraken Wakes became Out of the Deeps, and The Chrysalids became Re-Birth. In the mid-70s, which was when…