Looking back now, it’s almost hard to believe that John Carpenter’s career was in such a rough state back in 1983 that he needed to take on a project like Christine just to keep it afloat.
Carpenter was coming off The Thing, which while rightfully regarded now as one of the best horror films ever made, was a massive critical and financial bomb upon release. He needed his next film to turn a profit and find a larger audience or else, and at the time, no one commanded more attention in the horror genre than Stephen King. His popularity was so immense that production on Christine began before the novel was even published. When the film finally hit theaters in December 1983 — less than eight months after the novel’s release — it was already the third Stephen King film adaptation of that year, following Cujo and The Dead Zone, respectively.
Christine was by no means a passion project for Carpenter, and in the years since, he’s referred to it as his worst film. Strictly speaking, it’s kind of clear why: the premise is gimmicky and by the numbers, a total retread of some of King’s already better known works. In many ways, Christine is like a spiritual sequel to Carrie (1976), but for tortured teen boys.
Continue reading Christine (1983)
This review appeared shortly after the initial premiere of True Detective in early 2014 — slight edits have been made since the original posting.
Everything leading up to last night’s conclusion to True Detective’s first season has been pretty stellar, setting the bar higher for the show as a whole than any other first season you care to name. The finale was so sought-after, in fact, that the HBO GO server overloaded and crashed due to such high demand, sending millions into despair over whether Rust and Marty would finally get their man. Last week’s episode “After You’ve Gone” served up a nice volley for the finale to knock down — and the eighth and final installment did just that. Needless to say, spoilers follow for the season one finale “Form and Void”.
Writer and showrunner Nic Pizzolatto dug himself into a hole in several ways with True Detective, foremostly by turning out a phenomenal, pitch-perfect pilot and a five-episode arc that brought with it the most intriguing hour “The Secret Fate of All Life”. I didn’t hear any major complaints after the first three episodes, and only when the fourth episode “Who Goes There” indulged in an action sequence did reviewers post fears about the show becoming “just another procedural”. Now, it seems, we have something of the reverse: “Form and Void” was inarguably, inescapably, and at times frustratingly revelation-free, instead providing a straightforward “resolution” where most fans pined for a major twist involving the unveiling of the Yellow King.
Continue reading True Detective 1.8 – “Form and Void”