Sentimental ‘Starman’ (1984) shows the softer side of Carpenter
Throwback Thursday (Movie review): The director’s only theatrical film that’s not action or horror is openly sentimental and hard to dislike.
John Carpenter
Sentimental ‘Starman’ (1984) shows the softer side of Carpenter
Carpenter’s resume recovers in ‘The Ward’ (2010)
Frightening Friday (Movie review): The best thing about this Sixties-set mental-ward horror film is it replaces “Ghosts of Mars” as his last film.
Carpenter brings ‘Elvis’ (1979) down to Earth in TV biopic
Throwback Thursday (Movie review): The director’s only non-genre film is a fine one, filled with music but not the details you’d need for a full portrait.
Carpenter quietly makes mark with ‘Assault on Precinct 13’ (1976)
Throwback Thursday (Movie review): The director’s style-over-story-details approach is present in his first major film.
Carpenter throws a few bones to fans in ‘Masters of Horror’ (2005-06), ‘Suburban Screams’ (2023)
Frightening Friday (TV review): John Carpenter has directed more TV episodes this century than movies. “Cigarette Burns” is definitely worth a look.
‘Ghosts of Mars’ (2001) will have Carpenter fans seeing red
Frightening Friday (Movie review): The director finds no signs of life among his lead actors in this sci-fi riff on “Assault on Precinct 13.”
‘Dark Star’ (1974) smartly but too slowly makes fun of ‘2001’
Throwback Thursday (Movie review): A bare expansion of a student film from Carpenter and O’Bannon, this SF satire previews the grimy futures to come.
If you like your stake medium-well, check out ‘Vampires’ (1998)
Frightening Friday (Movie review): In a decade of bloodsuckers, John Carpenter checks in with his own respectable vampire-Western.
Damn, ‘Village of the Damned’ (1995) is bad
Frightening Friday (Movie review): Carpenter made the best horror remake of all time in “The Thing” … and later he made one of the worst.
It’s a blast getting lost ‘In the Mouth of Madness’ (1994)
Frighting Friday (Movie review): John Carpenter’s gem of meta psych-horror breaches the barrier between reality and fiction.