John Carpenter: Five of the Best

Carpenter Directing

VHS Revival looks back at five of Carpenter’s best.

John Carpenter was one of the most innovative and resourceful directors of his generation, a musical visionary who defied all monetary restrictions to become one of the best loved cult directors in modern cinema. In this article, VHS Revival examines five of his most notable achievements.

Assault on Precinct 13 (1976)

What better place to begin than with Carpenter’s original cult classic? A bleak ode to Howard Hawks’ Rio Bravo, Assault of Precinct 13 is a precursor to the dystopian pictures that would follow, the tale of a soon-to-be defunct precinct put under siege by a group of heavily-armed gangbangers in the Wild West of South Central Los Angeles.


The movie is very much cowboys at high noon, but also pays due homage to George A. Romero’s Night of the Living Dead, as a group of cultural opposites team-up to protect their fateful territory. Carpenter blurs the lines of not only black and white, but of our perceptions of good and bad, as cops and criminals ditch their societal roles for stripped-down characteristics that see them sink or swim as a consequence.

The film is both wonderfully simple and devastatingly violent – a scene in which a child is shot dead at close range proving particularly unsettling – and Carpenter’s sense of pacing helps to produce a low-budget triumph of startling potency. The film also gives us the director’s first iconic hero in Wilson, a coolly subversive blueprint for some of the filmmaker’s more memorable protagonists.

Halloween (1978)

Carpenter was always at his best when backed into a financial corner, and some of his later, bigger budget offerings were something of a letdown. But this is the great man at his most resourceful. Armed with a Steadicam and a cast of relative unknowns he would rely on his technical mastery and musical intuition to establish a mounting sense of dread that is as potent in the drab palettes of the daytime as it is in the dead of night.

Take the scene where an oblivious Nancy (Annie Brackett) flirts while our monster’s mask dissolves in and out of darkness, or the close-up of a sobbing Laurie Strode (Jamie Lee Curtis) as an emotionally detached Michael sits up in the background, triggering the first urgent notes of Carpenter’s blood-curdling original score.

Of course, every great slasher needs an iconic killer, and there is none more memorable than the ghost-faced Myers, a largely docile brute whose giant, dead eyes ooze detachment. There are some classic boogeymen in the horror lexicon, but who else can go from childlike inquisitiveness to animalistic brutality with such a sharp and devastating turn?

Pessimistic about the shoddy array of potential masks at his disposal, Carpenter would cut holes in the eyes of a William Shatner mask and spray it white in order to define his most iconic creation.

It’s amazing what poverty can do for human ingenuity.

The Fog (1980)

Perhaps sensing that the iconic Myers would be a hard act to follow in terms of creating an emblematic threat, Carpenter chose to disguise his next lurking horror behind a cloud of drifting fog, as a gaggle of ethereal pirates terrorise the secluded residents of Antonio Bay, seeking revenge for past discrepancies.

The Fog

Perhaps not as visceral as its seasonal predecessor, the movie relies on a stylish, slow-building tension, utilising the kind of eerie, minimalist score the director is so adept at producing, while the creaking sound design helps to maintain a breathless sense of foreboding as our cast of characters meet their demise.

Like Myers before them, there is something of the omnipotent about The Fog’s invisible antagonists, and a futility for our victims that becomes all the more excruciating because of the film’s driftwood pacing. For most director’s, it would be nigh-on impossible to follow the likes of Halloween, but Carpenter managed it with typical aplomb.

Escape from New York (1981)

Kurt Russell’s Snake Plissken is perhaps Carpenter’s most iconic character, a growling cynic with little time for authority and a nihilistic aura that hints at a beleaguered past of government betrayal. So well-defined and worthy of our respect is the legendary Snake, that he would go on to influence one of the world’s best-loved video game franchises, his image and persona as potent and relatable as ever.


Escape from New York features one of the all-time great movie set-ups as our unwilling protagonist is plunged into the city of New York, now a maximum security prison governed by its own rules. After the president crash-lands in Manhattan, Plissken is released from prison with the condition that he retrieve the nation’s leader in time to deliver a war-preventing speech, and is secretly implanted with a microscopic device set to detonate within 24 hours, a dastardly trick which proves all the motivation our self-serving antihero needs.

The movie is a stunning dystopian spectacle which still impresses almost forty years later, a testament to the director’s resourcefulness and creativity, while the synth-heavy soundtrack proves one of his best and most endurable. The movie also features some of Carpenter’s most memorable characters, from the draconian, jive-talking Duke, to Donald Pleasence’s heartless president, to snivelling gang slave and former deserter Brain. Then we have the eye patch sporting, no-nonsense Snake, the kind of legend whose name is uttered with great reverence by those who presumed him dead, and who contrives to deliver one of cinemas most satisfying pay-offs.

The Thing (1982)

A remake of 1951’s Cold War sci-fi vehicle The Thing from Another World, Carpenter’s vastly superior effort is arguably his greatest ever achievement. Set in a secluded research outpost somewhere in the Antarctic, it is the story of a team of scientists set upon by a parasitic alien entity, whose shape-shifting capabilities plunge the entire crew into a state of erosive paranoia.

The Thing

Compared to the director’s previous features, The Thing has a relatively big budget, and Carpenter makes every dollar count as replicated crew members morph and melt into a plethora of surreal horror creations, a mixture of bravura special effects and the director’s legendary resourcefulness culminating in a breathtaking Grand Guignol of masterful pacing. The director was even able to collaborate with legendary film Composer Ennio Morricone, who produced one of his most memorable pieces for the movie, a sparsely bleak Carpenter-esque theme which throbs with a quietly insidious sense of foreboding.

It is these factors, along with a tightly-plotted screenplay and fine central performances, that elevates the movie above much of what Carpenter had and would produce. Along with Halloween, it is perhaps the director’s most accomplished work to date, and a true genre masterpiece.


Cedric Smarts
: Editor-in-Chief and Art Director

Science fiction author, horror enthusiast, scourge of plutocracy, shortlisted for the H. G. Wells Award, creator of
Likes: 80s poster art, Vangelis, classical liberalism, dystopian allegories, dissident political activism, Noam Chomsky, George Orwell, George Saunders, John Updike, Kurt Vonnegut


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8 responses to “John Carpenter: Five of the Best

  1. Great choices! I can remember many late nights watching The Thing over and over on HBO when I was a teenager. One movie that I like and I know gets a mixed response is Prince of Darkness. When I saw it in the theater, it stayed with me for weeks.


    • The man is a master of resourceful filmmaking and a true visionary. He has something of an anarchic personality, but his political views are presented in a fun and accessible way which is all the more satisfying.

      I love Prince of Darkness – particularly the soundtrack. I actually saw him perform it with his band in Manchester back in October. Unfortunately the gig was vastly overbooked and suffered from sound issues. It still sounded great for the most part though.

      Liked by 1 person

      • That sounded like a good time! I know John was recently in the news for They Live, I believe. Something to do with a so called political theme in the movie which he vehemently denied. Sometimes a movie is just a movie…


  2. Yes. I think one of our writers, Simon Towers, commented on that in his first article for VHS Revival. You can find it here:

    I believe it was something to do with anti-Semitism, but I think you’ll find there is invariably media-driven nitpicking when it comes to anything that challenges private power. It’s simply a way to discredit or overshadow the more relevant – and accurate – themes contained in the movie.


  3. All great films.Carpenter has made some really memorable movies.The Fog and Halloween are my favourites but I would happily watch any of those .I also have a soft spot for Vampires which is not up to the standard of these films but I do really like it.Great post!!


    • Thanks, Amanda. I love Vampires too. Its one of the few movies of his post-90s that I actually like. James Woods is brilliant in everything. But as you said, not quite up to the standard of those on the list. He was most formidable in the 70s and 80s.


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