Tag: john carpenter

John Carpenter Gives Definitive Answer To The Ending OF THE THING On The Late Show With Stephen Colbert

On Thursday, John Carpenter was the guest On The Late Show with Stephen Colbert to discuss his latest project “John Carpenter’s Suburban Screams”, a six-episode horror anthology series available to stream on Peacock.

https://www.peacocktv.com/watch-online/tv/john-carpenters-suburban-screams/8006432878975950112/seasons/1

The host, a huge film nerd, revealed to the audience that his go to comfort movie food is 1982’s THE THING. Reviled by critics and cinema goers at the time for being too gory and violent, while expecting a remake of Christian Nyby’s and Howard Hawks’s black & white version of 1951’s THE THING FROM ANOTHER WORLD, the movie was almost forgotten… until sci-fi and horror fans decided differently. In the decades since, the film saw new life with VHS, Laserdisc and Blu-ray/DVD. The film has a killer score composed by Ennio Morricone, organic, non-CGI effects from Rob Bottin and one of the best posters ever from Drew Struzan.

Having celebrated its 40th anniversary, THE THING has become a cult favorite. NECA released a Kurt Russell, Ultimate Outpost 31 Macready action figure in 2022 and it’s a must have for fans. Full reveal, I have two. https://www.amazon.com/Ultimate-MacReady-7-Inch-Action-Figure/dp/B099YPZZWN

Having joined many Top Horror lists, film geeks over the years have bantered about different theories on the dismal ambiguous ending where the survivors slowly freeze to death to save humanity from infection in the ultimate heroic act.

When asked by Colbert if he knows who the actual Thing is, Carpenter coyly replies with: THERE’S AN ABSOLUTE ANSWER TO THAT QUESTION, I DO KNOW THE ANSWER. IF YOU WATCH IT REALLY CAREFULLY AND YOU SEND ME A CHECK IN THE MAIL, I WILL TELL YOU. Colbert follows up with, I JUST WANT TO KNOW WHETHER I CAN FIGURE IT OUT, to which Carpenter says, YOU CAN.

Watch the fascinating interview below.

For another terrific interview, read Cinephilia & Beyond’s article here: https://cinephiliabeyond.org/john-carpenters-thing-story-sf-horror-game-changer/

John Carpenter’s Suburban Screams is a genre-busting unscripted horror anthology series from the mind of legendary director, writer, and producer, John Carpenter. The series explores the dark secrets and unspeakable evil that sometimes lurks beneath the surface of the sun-drenched streets, manicured lawns and friendly neighbors of suburbia. Each episode focuses on one true tale of terror, told by the real people who lived through it. Their firsthand accounts are brought to life through premium cinematic scene-work, news clips, home photos, and archival footage, combining the visual language of horror films with the tools and techniques of documentaries, creating a uniquely frightening experience for viewers.

Remotely directed from his own home, check out Carpenter’s idea of scary.

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM – Review

All right, perhaps this unifying theme for the 2023 Summer movie season is nostalgia. Sure, the multiplex is usually filled with sequels and reboots this time of year, but at this moment the studios appear to be trying to exploit the treasured properties of our youth, over several different generations. Last weekend it was a beloved ride/attraction which has been a staple at the happiest place(s) on Earth for over fifty years. However the box office (and WB record-breaker) for the last couple of weeks stretches back another ten years to engulf theatre lobbies in a title wave of pink (“This BARBIE’s gonna’ bust a billion bucks at the box office”). Now, this Wednesday’s (gettin’ a jump on the weekend) new release also has a toy connection, but that merch arrived well after the characters’ comic book debut in 1984 (which spawned a TV cartoon a couple of years later). Oh, and it’s their seventh theatrical feature film (quite a few straight-to-home video and streaming flicks), and like the 2007 entry, it’s fully animated (no “mo-cap CGI” or big rubber suits). Time to return to those NYC sewers with TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Cowabunga!

For this retelling, the film is indeed back in the Big Apple for a flashback in the secret lab of scientist Baxter Stockman (voice of Giancarlo Esposito) who is testing his weird glowing ooze on several animals. Well, until his grungy “crib” is invaded by the forces of TCRI, under orders from Cynthia Utrom (Maya Rudolph). Ah, surprisingly some of the enhanced creatures fight back. Flash forward to now as the TMNT quartet, Donatello (Micah Abbey), Raphael (Brady Noon), Michaelangelo (Shamon Brown Jr.), and the leader, Leonardo (Nicolas Cantu) go on a nighttime grocery run for their “papa”/mentor Splinter (Jackie Chan). Of course, things go awry when Leonardo is outvoted and the guys try to join the crowd at an outdoor movie screening in the park. Naturally, Splinter is furious at their late return and retells the story of how he found them as infants, raised them, trained them in martial arts, and how the humans above nearly destroyed them. Promising to be more careful, they go for another supply run and are spotted by the high school student and aspiring reporter April O’Neil (Ayo Edebiri). She is looking into a series of daring high-tech robberies that have spawned a curfew that may cancel the school prom. A smitten Leonardo decides that they should help out by thwarting the next big heist. Oh, but this puts the quartet in conflict with a nastier group of mutated critters, led by the powerful Superfly (Ice Cube). Can the teen turtles stop them and keep “under the radar”? More importantly, can they spring into action without angering Master Splinter?

Well, this witty retelling is certainly one of this year’s pleasant surprises. That may be due in large part to the new producers/handlers of this feature franchise, none other than the SUPERBAD duo of Evan Goldberg and Seth Rogan, along with James Weaver. And Evan and Seth were also part of the writing team adapting the creations of Peter Laird and Kevin Eastman (who get a couple of nice background visual “nods”). It’s obvious that the team has a great deal of affection for the source material, though they indulge in a few playful “tweaks” at the “mythology”. A big part of the “re-energizing” is the decision to have the teen turtles actually voiced by teenage actors (a couple of them have since aged past 18), giving the film a distinct sound as if we’re listening in on kids at a party “cracking wise” and “goofing” on each other. But Rogan also joins in on the fun as the voice of one of the “meanie mutants” along with screen vets Rose Byrne, Paul Rudd, and Hannibal Buress. The biggest “standouts” and scene stealers may be the two opposing “leaders”. We can imagine Ice Cube’s sneer (and see a bit in the rendering) as the swaggering Superfly. And could anyone be more “spot on” than Chan as the worrying, stern but sweet Master Splinter? Of course, all of that talent at the “mike” would be a really swell audiobook without the superb look and movement of the animation. Director Jeff Rowe (fresh off THE MITCHELLS VS. THE MACHINES, which isn’t as polished as this) with co-director Kyler Spears have taken a bit of inspiration from the first SPIDER-VERSE movie, to give the computer animation a real loose “sketchy” look. The outlines are constantly moving, often ‘sliding off” the mass of the figures as though they were scribbled by a pre-teen in the margins of his spiral notebook with colored markers or ballpoint pens. And inside those wriggling lines, the characters, mainly the turtles, have the look of clay models, especially when the light saturates them. It’s not as gorgeous as Miles and his pals, but it feels right for this urban adventure. As for that character design, the turtles don’t have the same standard body proportions even though they retain the identifying mask and belt colors. The same unique design works for O’Neil, though I wish they had eased up on the scenes of her panic “hurling” (c’mon we’re not back in BABYLON). I was tickled by the “free-standing” silver eyebrows of Splinter, while the Superfly crew looked equally fearsome and funny (loved SF’s torso claws). The pace is smooth, even as it gives in to the popular trend of having too many “endings” in the third act. It’s a minor quibble as this 2023 edition is a splendid revisit/restart that reminds us of the wacky exploits from nearly 40 years ago. Hopefully, the concession stand will be well stocked with pizza when the fans return to revel in TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Welcome back you “heroes on a half-shell”.


3 Out of 4


TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM begins playing in theatres everywhere on Wednesday, August 2, 2023

HALLOWEEN ENDS – Review

Michael Myers (aka The Shape) in Halloween Ends, co-written, produced and directed by David Gordon Green.

Wow, that time of year snuck up on us once more, much like the creeper of this looooong-time horror franchise. Yes, Fall is fully here and that big holiday is mere weeks away. And this is the (unlucky) thirteenth entry in the series that began 44 years ago (feels like we just marked its big 4-0). As though we’ve not been bombarded with horror flicks the last few weeks, from THE INVITATION to current box office champ SMILE. Ah, but this is different since it’s being treated as a major release from a big-time studio, and it stars the original’s “break-out” actress, who has had a career way beyond that early label of “scream queen”, though many genre stars proceeded her. But this was a true “game-changer” back in 1978. But will its implied “conclusion’ tingle the spines of twenty-first-century moviegoers? More importantly, will they accept the idea that HALLOWEEN ENDS?


Oddly, this ending begins with a flashback to 2019. It is that holiday setting, and another teenage babysitter Corey (Rohan Campbell), a fella’ this time, endures a deadly prank that will impact his life. Cut (natch’) to today. Well, here’s where it gets a bit confusing as it is four years since the events of KILLS which was released a year ago (wonky movie timelines). That original sitter, Laurie Strode (Jamie Lee Curtis), seems to be on the road to a healed psyche. She’s not training in a wooded “bunker’ any longer, instead, she resides in a nice cozy house (the old family “house of horrors” was torn down) with her granddaughter Allyson (Andi Matichak), who has begun a career as a nurse. And much of Laurie’s time is taken up with her writing as she types away at an inspirational memoir. Things are pretty quiet since it has been a few years since “you-know-who” stalked Haddonfield, Illinois. But there’s lots of drama left there as Laurie befriends Corey when some local hooligans gang up on him, which leads him to a “bloody cute” (literally) meeting with Allyson. They even hit a pre-holiday party at a local bar. But then he takes off his scarecrow mask and the “haters” break them up, which leads to him taking a tumble off an overpass. When he wakes up Corey hears grumbling from someone in a drainage tunnel. This empties into an underground level that is now the lair of a very weak “shape”, or “boogeyman” Michael Myers. Yet somehow he spares Corey when their eyes meet and they seem to share a twisted spiritual connection. Soon this unlikely duo is erasing names from Corey’s “s*#t list” as his romance with Allyson heats up. But Laurie sees a change in his eyes and fears that the “evil” may have a new host. Can she save her family from the new threat and a very old enemy?

Aside from “the Shape” the main reason for this “new trilogy” is the white-hot stat power generated by the formidable Ms. Curtis. And for her many fans, well to put it bluntly, she brings it, all of her skills and strength, to what she insists is her final waltz with Laurie. The last entry was a bit of a letdown as her character was mostly confined to a hospital room (much as in that second flick from 1981), happily here she’s in the “thick of it”, action-wise. But she’s more than the grim avenger of four years ago. We see her sweet side as Curtis lets a shy smile emerge while flirting with the charming Will Patton, who’s back as Hawkins. Plus there’s the maternal dealing with Allyson, pared with lots of conflict and remorse (Laurie’s not going to blow this second chance at parenting). Matichak captivates as the “final Strode sibling”, though too often she’s regulated to being the “good gal” defending the “bad boy” she adores because nobody else “understands”. Until it devolves into a cliched angsty star-crossed romance, she has a nice initial rapport with Campbell’s Corey who deftly turns from dweebish teen to haunted twenty-something as he slowly succumbs to the darkness of the small-town taunts and torments. Ultimately the script calls for him to emote via sneers and snarls when away from Alyson and as he falls fully under the spell of the Shape.

The best thing say of this “finale” is that it does indeed feel like one, and it’s miles above last year’s dreary. overwrought “message-y” misfire (none of this “the town is the real evil” hoohah). It’s odd since most of the same creative team made this one, led by director and co-writer (it took a quartet) David Gordon Green. He keeps the third act moving briskly, from one gore-fueled set piece to another, which should satisfy the fans who may grow restless waiting for their masked “hero” to do his “business” after the Corey subplot and the more “mellow” Laurie. Actually, this one’s main problem might be a script that’s too ambitious as it tries to meld a thrill ride with bits of family drama and an unlikely mentoring saga. Plus the final “throw-down” is marred by the off-kilter actions of a major player. Well, at least the “hit list” is made up of some really awful folks (though maybe not deserving of such extreme reprimands). Another plus is the always sinister musical themes that have been given a tweak or two by the master, John Carpenter, and his audio crew. And as I said, it feels like a final farewell, but only the box office can guarantee that HALLOWEEN ENDS.

2 Out of 4

HALLOWEEN ENDS is now playing in select theatres and streams exclusively for 60 days on Peacock beginning on 10/15/2022

A ’58 Plymouth Fury Possessed by Hell! CHRISTINE Screens Sunday Night August 9th at the Sky View Drive-in in Litchfield, Illinois

” Whoa, whoa. You better watch what you say about my car. She’s real sensitive.”

John Carpenter’s CHRISTINE, based on the novel by Stephen King, screens Sunday Night August 9th at the Sky View Drive-in in Lichtfield, Il. (1500 Historic Old Route 66) This is part of the Sky View’s ‘Throwback Sundays’. The second Sunday of the month, they screen a classic movie. Admission is only $7 (free for kids under 5). The movie starts at dusk (8:40-ish). The Sky View’s site can be found HERE.

Everyone remembers their first love. It’s just unfortunate when your first love happens to be an evil 1958 Plymouth Fury that keeps trying to murder your girlfriend. CHRISTINE, directed by John Carpenter and adapted from a Stephen King novel that was published the same year, is a story of one nerdy boy’s transformation from high school whipping boy to badass 50s-style greaser thanks to the affection of a possessed car. Easily one of the most beloved film adaptations of a King novel to date, CHRISTINE has become a horror classic and is definitely a favorite among Stephen King fans. Don’t miss you chance to catch it on the big screen this Sunday at The Sky View!

John Carpenter’s Original HALLOWEEN Screens Midnights This Weekend at The Tivoli

” He’s gone! He’s gone from here! The evil is gone! “

John Carpenter’s HALLOWEEN (1978) plays this weekend (October 11th and 12th) at the Tivoli ( 6350 Delmar Blvd., University City, MO.) as part of their Reel Late at the Tivoli Midnight series.

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It’s the film that created a genre all its own. think about every movie you’ve ever seen with the unstoppable killer stalking teenagers. add a mask, and penchant for sequels – that all started in 1978 with HALLOWEEN. After killing his sister when he was 6 years old, Michael Myers escapes from the mental institution where he’s resided for fifteen years and returns to his hometown to stab some babysitters. Though this story is general format for horror now, in 1978 it was original stuff and paved the way for films such as FRIDAY THE 13th, NIGHTMARE ON ELM STREET and even its own many sequels. John Carpenter’s use of the widescreen is skillful and he makes sure he uses all those little dark corners that are on the edge of the viewer’s vision. The lighting and Carpenter’s iconic music are brilliantly timed. Carpenter knew exactly what he wanted to do in this film and he did it perfectly, that is to scare the hell out of anyone who watches it. As with quite a few of the horror masterpieces, there is a serious lack of blood in the original HALLOWEEN, but this was remedied when Rick Rosenthal made the first sequel a couple of years later.

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he Tivoli’s located at 6350 Delmar Blvd., University City, MO. Admission is a mere $8!

The Tivoli’s website can be found HERE

And here’s the midnight line-up for the rest of the month:

October 19-20 and Oct 26-27       ROCKY HORROR PICTURE SHOW – with live shadow cast, Samurai Electricians! – All tickets $10 for ROCKY

John Carpenter’s CHRISTINE Screens Midnights This Weekend at The Moolah


“Whoa, whoa. You better watch what you say about my car. She’s real sensitive!”


John Carpenter’s CHRISTINE (1983), based on the novel by Stephen King screens Midnights this weekend (December 7th and 8th) at The Moolah Theater and Lounge (3821 Lindell Blvd, St. Louis, MO 63108) as part of  Destroy the Brain’s monthly Late Nite Grindhouse film series.


Everyone remembers their first love. It’s just unfortunate when your first love happens to be an evil 1958 Plymouth Fury that keeps trying to murder your girlfriend. CHRISTINE, directed by John Carpenter and adapted from a Stephen King novel that was published the same year, is a story of one nerdy boy’s transformation from high school whipping boy to badass 50s-style greaser thanks to the affection of a possessed car. Easily one of the most beloved film adaptations of a King novel to date, CHRISTINE has become a horror classic and is definitely a favorite among Stephen King fans. Don’t miss you chance to catch it on the big screen this weekend at The Moolah!


THE PSYCHOTRONIC PRE-SHOW STARTS AROUND 11:30P WITH THE FILM STARTING AT MIDNIGHT.


The Moolah Theatre & Lounge serves alcohol until 2:30AM! Feel free to show up early and stay late to have some drinks and get friendly with the amazing Moolah staff.

The Facebook invite for Friday night can be found HERE
https://www.facebook.com/events/304253610189438/
The Facebook invite for Saturday night can be found HERE
https://www.facebook.com/events/2507224355955962/

Jamie Cutis Returns in HALLOWEEN Available on 4k Ultra HD, Blu-ray, and DVD January 15th


The infamous killer Michael Myers strikes again in Halloween, arriving on Digital and via the digital movie app MOVIES ANYWHERE on December 28, 2018, as well as on 4K Ultra HD, Blu-rayTM, DVD and On Demand on January 15, 2019. Hailed by critics as “a near perfect blend of craft, character growth and nostalgia” (Perri Nemiroff, Collider), Halloween takes place four decades after Laurie Strode (Jamie Lee Curtis, Halloween Franchise, “Scream Queens”) narrowly escaped the masked Michael Myers’ brutal killing spree. Packed with bonus features including chilling deleted and extended scenes as well as special featurettes showing behind the scenes looks at creating the film, Halloween delivers spine-chilling, hair-raising intensity and thrills to both new and repeat viewers.


Forty years after the events of 1978’s Halloween, Laurie Strode (Curtis) now lives in a heavily guarded home on the edge of Haddonfield, where she’s spent decades preparing for Michael’s potential return. After being locked up in an institution, Myers manages to escape when a bus transfer goes terribly wrong, leading to chaos in the same town he preyed on decades earlier. Laurie now faces a terrifying showdown when the deranged killer returns for her and her family – but this time, she’s ready for him.


Master of horror John Carpenter (Halloween (1978), The Thing) joins forces with director David Gordon Green (Joe, Pineapple Express) and producers Jason Blum (Blumhouse), Malek Akkad (Trancas International Films) and Bill Block (Miramax) for this follow up to Carpenter’s 1978 classic horror film. Halloween also includes a stellar cast including Judy Greer (Ant-Man and The Wasp, Jurassic World), Andi Matichak (“Underground”), Will Patton (Armageddon, The Punisher), and Virginia Gardner (Project Almanac, “Runaways”). Proving “classics never die” (Mara Reinstein, US Weekly), Halloween offers a tricky treat for audiences both old and new. Halloween is the perfect slasher film, lauded as “hands down the best Halloween sequel ever” (Katie Walsh, Nerdist) and “immensely entertaining” (Eric Eisenberg, Cinemablend).


BONUS FEATURES on 4K ULTRA HD, BLU-RAYTM, DVD & DIGITAL:

Deleted/Extended Scenes

  • Extended Shooting Range
  • Shower Mask Visit
  • Jog to a Hanging Dog
  • Allyson and Friends at School
  • Cameron and Cops Don’t Mix
  • Deluxe Banh Mi Cops
  • Sartain and Hawkins Ride Along

Back in Haddonfield: Making Halloween

The Original Scream Queen

The Sound of Fear

Journey of the Mask

The Legacy of Halloween

The film will be available on 4K Ultra HD in a combo pack which includes 4K Ultra HD Blu-rayTM, Blu-rayTM and Digital. The 4K Ultra HD disc will include the same bonus features as the Blu-rayTM version, all in stunning 4K resolution.

HALLOWEEN (2018) – Review

As Tommy says to Laurie in the original 1978 film, “You can’t kill the Boogeyman.” It was never a question if he would return to the big screen… just a matter of when. Unfortunately, HALLOWEEN and Michael Myers have always been misinterpreted since the John Carpenter classic. His story has gone in directions that never lived up to the “Boogeyman” status. He once existed as part man and part dark fantasy. What he’s capable of in the original film goes beyond the suspension of belief, but it’s always grounded by John Carpenter’s masterful handling of the story. While the new 2018 film is the one sequel that comes the closest to presenting this idea, it once again falls victim to the same missteps that the later films in the series and the slasher genre as a whole embraced with open arms. The original was never about the kills and gory imagery on screen, but rather how the power of suggestion can make you believe that both man and myth can form a monster.

I have to give him credit. David Gordon Green tries hard to make this as faithful to the original as possible, coaxing Carpenter to return as producer and composer, Jamie Lee Curtis to reprise the role of Laurie Strode, and Nick Castle, as the “the Shape” of Michael Myers. Even compositions, at times, like the silhouetted inmates walking in the moonlight following a bus crash remind the viewer of Dean Cundey’s original cinematography. And yet, for all the good intentions, the film still feels the need to abandon what worked so well in the original in lieu of more flashy content like a killing spree depicted in a long single-take shot between households.

One of the most glaring issues with the film is the casting. As an integral part of Laurie’s emotional arc, Judy Greer is completely miscast as her daughter Karen. Now a mother of a teenage daughter, the character serves as the “voice of reason” who has moved on from her mother’s painful past. Her backstory as a former survivalist-in-training under her mother’s wing is never truly felt, and her scenes with Jamie Lee Curtis where she looks on her mother with embarrassment, never feel balanced opposite Curtis’ gut-wrenching and genuine performance. “The new Loomis,” as described by Laurie in the film, also struggles to find his place in the film. In the hands of Haluk Bilginer, Dr. Sartain comes across as a mix of Udo Kier and a Donald Pleasance impersonator in a 70s Italian horror film. That’s not even acknowledging the unnecessary turns in his story.


John Carpenter gives new life to his classic score in faithful and suspenseful style which also adds an emotional texture to Laurie’s survivor story. The connection between Michael and Laurie – the hunter and hunted – and how they relate to each other is the most sincere and effective element of the film. Laurie’s trauma is portrayed with a steely intensity by Curtis. She has trained herself to become an unblinking and unwavering warrior, but the film isn’t afraid to show her break down as a result of her trauma. Curtis lives up to the physical and mental challenges of the role, especially in the final act. The original HALLOWEEN may have ushered in the “woman in peril” genre, but the new film shows how peril can create a somber and strong story of redemption. How the events of 40 years ago have shaped each of them is what becomes the jumping off point, but along the way, this idea takes a backseat and the script veers into post-modern winking and bloodshed.

David Gordon Green’s HALLOWEEN rather quickly becomes about the unstoppable nature of this man. And while the “Boogeyman” idea is often referenced, the film relies heavily on the malicious killing power of Michael Myers. The bulk of the film seems like a melee of carnage until the finale, when audiences are finally treated to an entertaining blend of nods to the original with a modern take on the home invasion model. HALLOWEEN (2018) is exactly what you would expect from a film made 40 years later: a continuation of a horror classic that can’t commit to the restraint that Carpenter showcased in his masterpiece. 

In the opening moments of the film, a journalist pulls out the mask Michael wore 40 years ago and taunts him by saying, “You feel its power, don’t you?” The mask is a central theme to HALLOWEEN. The original opens with a young Michael Myers putting on a simple clown mask and murdering his sister. You don’t know his motives, and it’s not until the mask is pulled off that we see the face of a young boy emotionless and frozen with fear. He doesn’t even answer when his parents call his name. At this moment, Carpenter shows that anyone can become the “Boogeyman.” And yet the fantastical power of the mask isn’t felt with this new film. Watching Michael slip on the mask again doesn’t feel the same as it once did. It might look like and sound like HALLOWEEN at times, but it doesn’t necessarily feel like it. And for some die-hard fans of the series, that might be enough to welcome the long-awaited return of the “Boogeyman.”

 

Overall score: 3 out of 5

HALLOWEEN (2018) opens in theaters Friday, October 19th

 

John Carpenter’s Original HALLOWEEN Midnights This Weekend at The Tivoli


“Lynda, if this is a joke, I’ll kill you!”

halloweenstill

John Carpenter’s HALLOWEEN (1978) plays this weekend (October 12th and 13th) at the Tivoli as part of their Reel Late at the Tivoli Midnight series.

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It’s the film that created a genre all its own. think about every movie you’ve ever seen with the unstoppable killer stalking teenagers. add a mask, and penchant for sequels – that all started in 1978 with HALLOWEEN. After killing his sister when he was 6 years old, Michael Myers escapes from the mental institution where he’s resided for fifteen years and returns to his hometown to stab some babysitters. Though this story is general format for horror now, in 1978 it was original stuff and paved the way for films such as FRIDAY THE 13th, NIGHTMARE ON ELM STREET and even its own many sequels. John Carpenter’s use of the widescreen is skillful and he makes sure he uses all those little dark corners that are on the edge of the viewer’s vision. The lighting and Carpenter’s iconic music are brilliantly timed. Carpenter knew exactly what he wanted to do in this film and he did it perfectly, that is to scare the hell out of anyone who watches it. As with quite a few of the horror masterpieces, there is a serious lack of blood in the original HALLOWEEN, but this was remedied when Rick Rosenthal made the first sequel a couple of years later.

hall5

he Tivoli’s located at 6350 Delmar Blvd., University City, MO. Admission is a mere $8!

The Tivoli’s website can be found HERE

http://www.landmarktheatres.com/market/st.louis/tivolitheatre.htm

And here’s the midnight line-up for the rest of the month:

October 19-20 and Oct 26-27       ROCKY HORROR PICTURE SHOW – with live shadow cast, Samurai Electricians! – All tickets $10 for ROCKY

hall3

ESCAPE FROM NEW YORK Screens at Schlafly Bottleworks January 3rd – ‘Strange Brew’


“You wanna see him sprayed all over that map, baby? Now where’s the President?”


John Carpenter’s St. Louis-lensed ESCAPE FROM NEW YORK (1981) screens Wednesday, December 6th at 8pm at Schlafly Bottleworks Restaurant and Bar (7260 Southwest Ave.- at Manchester – Maplewood, MO 63143) as part of Webster University’s Award-Winning Strange Brew Film Series. Admission is $5


For those of you who don’t know, the ESCAPE FROM NEW YORK’s production designer, the Oscar-nominated Joe Alves, couldn’t work out the logistics of shooting the film’s night-time exterior shots in New York City.   It was too difficult to make the New York city streets seem like a devastated, prison city as depicted in the film.   Alves was sent on a cross-country expense trip where he was to find a city that could stand in for a demolished, downtown NYC.   Enter East St. Louis, IL in the late ’70s.   In ’76, a massive fire broke out, and entire blocks were left burned up and in rubble.   Production moved to Illinois.   Scenes were even shot across the river in St. Louis, MO proper at Union Station and the Fox Theater.


Here’s some interesting ESCAPE FROM NEW YORK facts about shooting in St. Louis:

  • The final credit is a reference to a strip club and the dancers across the river from St Louis
  • The President’s downed plane was an old DC-10 bought from an airplane graveyard in Tucson, Arizona. The plane was carved up into 3 separate pieces and trucked into the film’s St Louis locations in the dead of night as they didn’t have the requisite paperwork
  • John Carpenter and his crew convinced St. Louis authorities to shut off the electricity for ten blocks at night
  • John Carpenter purchased the Old Chain of Rocks Bridge in St Louis for $1 from the government and then returned it to them for the same amount after filming was completed
  • the scene shot at the Union Station is the gladiator-style wrestling match where Snake Plissken fights Slag, played by Ox Baker.   The scene was filmed in Union Station’s grand hall before it was renovated.   If you look closely in the scene, you will see the stained glass window that still hangs above the entryway into the grand hall on Market Street.

A Facebook invite for the screening can be found HERE
https://www.facebook.com/events/911026755741025/