John Carpenter’s prolific career is mind-blowing. He’s the director of dozens of great titles spanning multiple subjects and film genres, from drama to science fiction to action. But of course, he’s more often remembered as a master of horror for his pioneering and well-executed ideas that changed the genre forever. A writer-director-producer with strong trademarks, he’s also a fantastic composer who’s responsible for unforgettable soundtracks. “Movies are pieces of film stuck together in a certain rhythm (…) like a musical composition. The rhythm you create affects the audience,” Carpenter said in a The New Yorker profile published in 1980.His approach to horror as something with a beat that makes people feel alive — not just scared — and that gives food for thought is why his style is unparalleled. With so many theatrical releases and television features under his belt, some amazing horror movies like Christine or Village of the Damned don’t make it to the list of his scariest. Assault on Precinct 13 and In the Mouth of Madness are a lot scarier in comparison for having absolutely everything they need: a terrifying premise, a suspenseful script, a talented cast, a chilling soundtrack and on-point editing. The more Carpenter can find a good balance of his preferred horror elements like bizarre images and slow reveals, the scariest the movie is.The premise that consumerism is an alien plan to exploit Earth as colonizers do to less powerful countries can get unintentionally goofy in certain scenes, especially because the acting is a little over the top. However, the basis for the movie is realistic and pretty scary. Carpenter was inspired by watching TV and realizing the unapologetic greed in mass media. It’s the type of film that has thrilling suspense but gets even more frightening after it ends when the audience is out in the world being bombarded by advertisements again. Watching it nowadays also makes one think of how this aspect of capitalism has gotten worse since They Live was made.
John Carpenter‘s prolific career is mind-blowing. He’s the director of dozens of great titles spanning multiple subjects and film genres, from drama to science fiction to action. But of course, he’s more often remembered as a master of horror for his pioneering and well-executed ideas that changed the genre forever. A writer-director-producer with strong trademarks, he’s also a fantastic composer who’s responsible for unforgettable soundtracks. “Movies are pieces of film stuck together in a certain rhythm (…) like a musical composition. The rhythm you create affects the audience,” Carpenter said in a The New Yorker profile published in 1980.
His approach to horror as something with a beat that makes people feel alive — not just scared — and that gives food for thought is why his style is unparalleled. With so many theatrical releases and television features under his belt, some amazing horror movies like Christine or Village of the Damned don’t make it to the list of his scariest. Assault on Precinct 13 and In the Mouth of Madness are a lot scarier in comparison for having absolutely everything they need: a terrifying premise, a suspenseful script, a talented cast, a chilling soundtrack and on-point editing. The more Carpenter can find a good balance of his preferred horror elements like bizarre images and slow reveals, the scariest the movie is.
The premise that consumerism is an alien plan to exploit Earth as colonizers do to less powerful countries can get unintentionally goofy in certain scenes, especially because the acting is a little over the top. However, the basis for the movie is realistic and pretty scary. Carpenter was inspired by watching TV and realizing the unapologetic greed in mass media. It’s the type of film that has thrilling suspense but gets even more frightening after it ends when the audience is out in the world being bombarded by advertisements again. Watching it nowadays also makes one think of how this aspect of capitalism has gotten worse since They Live was made.
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