From Tom Atkins

The Fog: A Chilling American Ghost Story

John Carpenter’s The Fog. 1980. Directed by John Carpenter. Written by Carpenter & Debra Hill.
Starring Adrienne Barbeau, Jamie Lee Curtis, Tom Atkins, Janet Leigh, John Houseman, Hal Holbrook, Charles Cyphers, George ‘Buck’ Flower, and Jim Haynie. AVCO Embassy Pictures/EDI/Debra Hill Productions. Rated R. 89 minutes.
Horror

★★★★★
the_fog_poster_by_cakes_and_comics-d5ht3iy
An impressive aspect about John Carpenter, other than stuff I’ve already talked about in reviews, is that his filmography as director has covered such ground in terms of genre. While a lot of it is horror-centric, within horror he crosses over into science fiction, the thriller, and even ghosts/the supernatural. He can cross any genres and make them work well with his slow and steady pacing, his suspenseful style. The ghost story style plot works for Carpenter, as he has a way of creeping up on you, every frame draped in the lurking presence of danger.
The Fog is a super interesting story of ghosts looking for revenge and a town with deep, dark secrets. Carpenter and frequent partner-collaborator Debra Hill came up with a nice screenplay, which he in turn crafted with style into one hell of a creepy horror movie.
tnt24.info_Mg³a_-_The_Fog_1980_Horror_HDRip_XviD_AC3-HQVIDEO_RUS_.4060__97446In Antonio Bay, California, a one hundred year celebration is about to happen. Kathy Williams (Janet Leigh) is busy preparing the town for its big shindig, while Father Malone (Hal Holbrook) is playing his part well enough, except his church is obviously in financial ruins; all the money flowing into big parades and such for the centennial. Then there’s Stevie Wayne (Adrienne Barbeau) who keeps herself and her son afloat, barely, by owning/operating the lighthouse radio station. At the same time, Nick Castle (Tom Atkins) rolls into town with a hitchhiking young woman named Elizabeth Solley (Jamie Lee Curtis).
But things start to go wrong, or at least they begin to get strange. A boat full of men doesn’t come in like they usually do, which prompts Nick to go looking for a friend who’d been on it. Once they track down the boat everything gets weirder, and not a soul is found aboard.
On land, Father Malone happens to find a diary lodged in the wall of his office at the church – it paints a gruesome picture of the residents in Antonio Bay during 1880 who did terrible, unspeakable things all under the guise of keeping their citizens safe from sickness. What has begun to happen in the little town turns out to be the revenge of those beyond the grave… those who will rise up from the water, in the fog, to come for every last descendant of the ones who took their lives.
FOG_1 screenshot_27Said it before, I’ll say it over and over: Carpenter’s scores are undeniably infectious. The swell of the electronic sound he often lays under a scene, how the swell then builds and builds, it’s so effective. I think that’s a big reason why I’ve always been so in love with 1980s horror – not only was I born in the ’80s, the music of those films was always so interesting, so brooding; not every last one of them, but so many, even the shit ones some times. But Carpenter infuses each of his films with such an intriguing sound in that way. It helps his style so much, the way he works off of suspense and tension. The music really lends itself to that. Particularly I love it here because the way the fog creeps in during many scenes almost matches the sound of the score. There’s more to simply throwing a bunch of special makeup effects and a fog machine into the shot – Carpenter actually crafts an atmosphere of genuine tension, his ghostly apparitions sneak into the frame and into our heads, they slowly take over the small seaside town. At the same time the terror slowly works its way up your spine and seeps into your brain. I’m not one to get JUMP UP AND SCREAM SCARED. But I love a good slow burning, deeply tense horror movie. Carpenter almost exclusively does this type of work.
Another big part of this film are the landscapes Carpenter includes. The cinematography from Dean Cundey, a Carpenter-collaborator on the regular, is fascinating. So beautiful, at the same time it sets up this incredibly desolate feeling. Much like his work in The Thing. Here, the way he captures so many of the wide open spaces, the ocean, the hills, it’s really disturbing in a gorgeous visual sense. There’s always a feeling of isolation in Carpenter’s work, whether it’s Assault on Precinct 13Halloween, or The Fog. Cundey is able to provide big lush visual feasts in which the suspense/tension of Carpenter comes out perfectly.
the-fog-1980-Screenshot-4There are plenty films which use radio deejays as plot devices, such as Spike Lee’s Do the Right Thing and Don McKellar’s Last Night. What I enjoy about Adrienne Barbeau in this film, as lighthouse personality Stevie Wayne, is that she’s not used as a plot device. Rather, Stevie is just a solid character who we come to know intimately through her soft and silky voice going out over the waves in the dark of night. Then once her plight begins, things feel more tense.
And this comes back to the fact I feel Carpenter and Hill are good writers. They’re not trying to do anything crazy here, nothing metaphorical or anything (though you can absolutely take away stuff like that if you want/look into it enough). But really they craft a nice story with good characters. They’re able to get you to care for these people and pity them for being caught in the crossfire caused by their ancestors; while hating what the people of Antonio Bay did back in the latter half of the 19th century, these genuine, nice characters don’t deserve to die for that – do they?
Stevie Wayne is not the only good character. I love them all. Hal Holbrook’s Father Malone is solid, right to the end. Aside from him there’s the always charismatic Tom Atkins, who I was recently enjoying in the underrated (and misunderstood) Halloween III: Season of the Witch. And last but not least, not at all, the wonderful Jamie Lee Curtis in another early horror movie performance; she is funny, sweet and has great presence in this film whenever she’s onscreen. The chemistry between Atkins and Curtis’ characters is phenomenal and adds a little something extra to their subplot, as they try to survive their time in Antonio Bay.

So many creepy moments and scenes. One of my favourites is when Nick (Atkins) is telling Elizabeth (Curtis) a story, then first a locker tips over scaring her before an actual body, its eyes gouged out, falls against her back; what an awesome two-punch technique! Love that one. Usually I’m not one for jump scares, but I love them when done right. Carpenter utilizes them appropriately a lot of the time, much as he started doing back in Halloween. He knows how to do them with an interesting touch instead of heavy handed, making it a cheap scare tactic.
But the best spots in The Fog are those that slowly catch you. Like when the fog overtakes everything in Antonio Bay, and one by one people start to get sucked in and killed by the ghosts of the lepers. I love how you know what’s coming, yet Carpenter draws you in and makes things incredibly suspenseful.
A top pick for favourite moment has to go to when Stevie (Barbeau) ends up climbing, climbing the lighthouse trying to outlast the fog coming for her. I’m afraid of heights (even though I once worked as an electrician in Alberta at ridiculous heights; never again), so this part really grates my nerves. In the best filmic sense. Also helps that this scene comes nearing the finale, obviously. There’s a great intensity watching Stevie try her damnedest to survive. A real trooper.
Another top pick – Elizabeth encounters a reanimated man. I won’t say anything further. Wildly creepy scene.
the-fogAnother 5 star ’80s classic from John Carpenter. He and Debra Hill did so well with this story. It’s a gothic, macabre piece of writing. Pile onto that the excellent cast, the score, all those awesome shots and effects – it’s a real masterpiece of ghostly horror. I can’t recommend this one enough. Always a huge fan of Carpenter, I consistently come back to this one because it’s spooky, it has great writing, and I’m always entertained. You’ve got to add this to any Carpenter marathon, as well as any proper Halloween/October movie list. It has a ton of great qualities, especially for a creepy night with the television on and the lights off.

Halloween III: Season of the Witch – Better Than Remembered

Halloween III: Season of the Witch. 1982. Directed & Written by Tommy Lee Wallace.
Starring Tom Atkins, Stacey Nelkin, Dan O’Herlihy, Michael Currie, Ralph Strait, Jadeen Barbor, Brad Schacter, Garn Stephens, Nancy Kyes, Jonathan Terry, Al Berry, Wendy Wessberg, Essex Smith, Maidie Norman, John MacBride, and Loyd Catlett.
Dino De Laurentiis Company/Universal Pictures.
Rated R. 98 minutes.
Horror/Sci-Fi

★★★1/2
halloween-iii-season-of-the-witch-dvd-cover-13 The Halloween franchise is one of my favourites in horror. Not a big fan of the last couple. But seriously, from John Carpenter’s original masterpiece Halloween right up to Halloween V, I’m right in there with the biggest of fans. Each of them aren’t equally as amazing. They’ve each got their merits, though. I’ll say this: the first two are slasher horror masterpieces.
In the middle of all the regular Michael Myers pictures, there stands Halloween III: Season of the Witch. What ought to have been marketed as a spin-off from the franchise rather than actually being the permanent third installment has been banished to the world of cult classic verging on generally maligned. There are several camps of people who talk about this Halloween film – some say it’s terrible and has no merit, others (like me) think it’s real good and should’ve done better had the producers marketed it correctly, and then crazier people than I who say it’s the best of the series (sorry that honour belongs to the very first; no matter how much I enjoy some of the others).
What I know for sure is this is a good horror movie. It doesn’t deserve to be torn up, it also doesn’t need to be over praised. If you go into it knowing this is NOT a Michael Myers slasher, then there’s a chance you’ll come at it correctly and find the horror and quasi-science fiction elements enjoyable. Watch a trailer, any trailer for this film and you can understand it’s different from the others. But it isn’t bad different, it’s simply not a typical Halloween entry. Much as I love Michael, this movie has a creep factor wholly of its own and I firmly believe – without any hype – the only reason this movie isn’t more widely loved is solely due to how its been marketed. Take the Halloween title off this, keep Season of the Witch and maybe make a few more tenuous ties to Myers (like showing the original film on a television), you’ve got yourself a solid 1980s horror classic.
h3iiiSmall shop owner Harry Grimbridge ((Al Berry) is attacked by unknown men in the night. He flees and eventually ends up in the hospital. There, he’s later killed by one of these same men. Although, Dr. Daniel Challis (Tom Atkins) is witness to the man’s last words, and shows up just after his murder. Following the killer outside, he sees the man pour gas all over himself and strike a match, blowing his car sky high. This sets him off on a quest to figure out what happened – alongside him is Harry’s daughter, Ellie (Stacey Nelkin).
What they end up uncovering is a vast and horrific plot by businessman Conal Cochran (Dan O’Herlihy); one involving Halloween, threatening every boy and girl looking to put on a mask so they can head out for candy.

The whole opening 20-minute sequence is extremely creepy and a whole lot of fun: from when Harry Grimbridge is attacked by the suit & glove wearing assailants to the moment Dr. Challis watches one of them light himself on fire and the car explodes. Can’t think of a better way this movie could’ve started out. The writing here from director-writer Tommy Lee Wallace is solid and makes the film’s energy pump hard immediately.
HalloweenIII-MasksBartender: “What’s the matter – don’t you have any Halloween spirit?
Dr. Challis: “No

An obvious viewing of this film holds themes involving big versus small business, consumerism, corporations feeding off the figurative soul of children via Halloween, and more. I’m not the first to try and draw any of that out, nor will I be the last.
I love the character of Harry Grimbridge to start. Right off the bat you’ve got this small business owner, running a hold-out shop against the big supermalls and chain stores, still getting much of his business from kids just out of school – and he’s being hunted down by the robot-like, suit & glove wearing henchmen, the identical looking murderers; they are legion. A little later there’s a homeless man Dr. Challis comes across. He gets his head pulled off by two of them because he’s out rallying against the man. The homeless man happens to tell Challis about how Cochran (Dan O’Herlihy) won’t employ the good ole local boys, but rather imports his workers from elsewhere. Can this get any clearer really? It’s not quite on the nose, definitely in the vicinity. No matter, I think it works great because there’s metaphor yet it’s blatant and still that’s perfect. Makes for a bit of unsettling horror.
cochranThe effects aren’t all spot on, though, they are certainly effective. I love when one of the clone-like henchmen pulls Grimbridge’s skull apart by the eye sockets and nose. Incredibly vicious, both during and afterwards! When a woman dies at the motel, I thought the initial parts of the makeup effects looked great, but the the longer Wallace lingers on her the worse it looks. Still, there are other worthwhile effects. Particularly once the science fiction type elements find their way into the screenplay, the practical makeup effects are ghastly at times; in the appropriate sense. The orange juice-looking liquid used at one point is sickly and makes for an uneasy feeling in the guts. Great, great stuff.
A subtle scene involves a drill – we never get to see the brutish stuff, we’re left by Wallace to imagine it instead. Which I often find even more tough. Nice choice by him on this one. Could’ve easily been a gory kill and here it’s something that will probably make you cringe in different way.
Favourite effects scene has to be when the first young boy has his head destroyed by the pumpkin mask. The way the mask looks to start, breaking down and decaying like it’s burning up inside and out, then all the insects, the snake slithering through the boy’s dead mouth… it’s raw and disturbing. Some intense shots here, especially considering the whole family of three dies in the made-up living room set. It’s a shocker of a scene, super effective.
10.23-halloween3Halloween-3-04Taken on its own, as a sort of standalone spin-off, Halloween III: Season of the Witch is a 3.5 out of 5 star horror movie. There are plenty of chilling moments, different in subject matter yet similar in tone to the rest of the franchise. As well as the fact you’ll see several wild kills, a few of those even further contain fun practical effects. It isn’t as great as Halloween or Halloween II, but it is damn good stuff. A little different spin on the franchise, and why not? The whole series wears out past the fifth entry, even earlier for some other viewers, so what’s the harm in one movie taking another path? I see no reason why this should be a widely panned film. It’s not perfect, but there is great horror and a dose of science fiction even. Check this one out if you’ve avoided it until now. You may find yourself pleasantly surprised; or horrified, possibly.