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The Devil’s Advocate (1997)

Based on the book by Andrew Neiderman, The Devil’s Advocate is an amazing supernatural horror film with a depth of strong thematic material.  The screenplay, adapted by Jonathan Lemkin and Tony Gilroy, is executed with extraordinary artistic skill by director Taylor Hackford.

Kevin Lomax (Keanu Reeves) is a ruthless young Florida attorney that never lost a case that is recruited by the most powerful law firm in the world.  In spite of his mother’s disagreement, which compares New York City to Babylon, he and his beautiful wife Mary Ann (Charlize Theron) accept the offer and the money that comes along with it.  The firm’s senior partner, John Milton (Al Pacino), sees something very special in Kevin, and showers him with wealth and feeds his vanity.  However, Mary Ann just wants to have a baby, and becomes distressed by Kevin always being on a case and never at home.  A multiple murder case for reviled businessman Alex Cullen (Craig T. Nelson) tears them further apart as Kevin won’t leave the case for fear of hating Mary Ann for doing so.  Feeling homesick, she witnesses horrifying apparitions, and starts to lose her grip on reality – or so it seems.  As Kevin is lured deeper into a treacherous well of unholy evil and seduction, he will come to learn a startling truth that could claim his very soul.

Director Taylor Hackford delivers a very fascinating film where there is always something more subversive occurring beneath the surface.  The courtroom and law scenes are never just proceedings, but a test of morality and conscience in a bigger picture.  There is a strong sense that there is something larger at stake with everything that is going on.  The audience can always feel a supernatural, sullen presence presiding over nearly everything in the film.  This is achieved in many ways from the atmospheric lighting in key scenes to the shady religious themes to John Milton’s skillful seduction.  The film does use a generous amount of religious context to massively profound effect.  People are consumed by their own sins, and are given the means to embrace them without consequence, as long as they have no consciences to worry about.  This is where tying this story directly into the world of defense attorneys and a shady law firm is brilliant.  They are people dedicated to clearing offenders of guilt, regardless of whether or not they are guilty.  For these characters, that requires a certain absence of conscience, and a dedication to deception, which are strongly prevalent themes in this film.

The moral corruption in the film is magnificently showcased through Mary Ann.  She is a very wholesome woman who is thrust into a world of amoral people.  They are pretentious, arrogant people that severely test Mary Ann’s psychological and moral resolve.  She clearly is not comfortable around them, which is best displayed during and after the party scene, and just being around them begins to decay her mental stability.  As she and Kevin are further driven apart, she gets worse and worse where the nightmares and isolation psychologically break her down, but that is ultimately not the worst of it.  Kevin is corrupted differently as John Milton gives him the opportunities to feed his competitive edge and then some.

As I’ve mentioned many times before, I really do like Keanu Reeves.  He’s a better quality actor than many give him credit for.  This performance is a fine example.  I like the dichotomy that Kevin is a very confident and in control person when he’s being a lawyer, but he sacrifices the stability and health of his marriage for it.  He is so deeply ensnared into Milton’s charismatic web of temptation and power that he cannot perceive the moral destruction of his life.  Reeves takes Kevin from those humble roots of a defense attorney who still has some conscience left to one who abandons it all for greater pleasure and glory.  He loved his wife dearly, but ultimately, he is turned against her as they both deteriorate in this “Babylon.”  Reeves shows early on that there is a humanity within Kevin, despite the unsavory things he does to secure a win, and that carries with an audience throughout the picture.  As he’s corrupted further in New York, he never becomes a bad guy to the audience.  We can see what’s happening to Kevin while he does indulge in the thrill of victory and hedonism alongside Milton.  This is also partially due to being intrigued by John Milton’s mystique, the same as Kevin.  We’re both following Milton down this dark path of temptation, and we cannot turn away from it.  Emotionally, Reeves can be intense with one scene showing a horrifying outpour of grief and horror.  Going into the climax, he delivers chilling conviction that ramps up the dramatic power of the film.  Beyond anything else, Keanu Reeves also solidly and consistently pulls off that southern accent.

Al Pacino is absolutely amazing in this film.  He indulges full boar into the hedonism and charisma of this role.  It’s great seeing him cut loose, but he plays it very smartly, only letting the full measure out at the right times.  Milton is definitely a tempter, a guy who opens the door, but never closes it behind you.  He allows you to dig your own grave.  He never seals your fate for you.  Milton gives Kevin plenty of chances to back out, to walk away from the Cullen case to take care of Mary Ann, but he never takes it.  He manipulates no one into doing anything they don’t want to do.  He seduces your desires to the surface.  The film smartly and slowly las the seeds of knowledge that Milton is more than he appears to be.  There’s an unspoken power he has that gradually manifests in more and more dramatic ways as the film goes on.  At a certain point, who and what he is becomes undeniable.  Pacino’s performance is brilliant and vibrant.  The scenes between him and Reeves are the real meat of the film, and they are a powerful pairing that do make this film excell in many ways.

Charlize Theron takes a powerfully emotional journey from that sweet, wholesome, and spirited small town woman to a horribly traumatized and vulnerable one.  Mary Ann might’ve been a young lady to contend with in her small Florida town, but in New York, she is entirely overwhelmed by everything.  She is incredible, and very brave for embracing the challenging demands of this role.  She takes her performance into frighteningly dark places that she should be commended for.  This is definitely an early breakout role for her, and it shows the incredible talent she possesses.  Theron and Reeves have great chemistry, and are so deeply convincing from the passionate, happy couple to the terribly turbulent and fractured one.

The supporting cast has some solid performances from Jeffrey Jones as the gluttonous, arrogant, and abrasive firm partner Eddie Barzoon, Connie Nielsen as the intriguing and somewhat exotic Christabella, Craig T. Nelson putting in a heavyweight performance as the ruthless real estate developer Alex Cullen, and even a small role by Delroy Lindo as the goat sacrificing Phillipe Moyez, who has a dark mystique and implied supernatural power.  This is a fantastically assembled cast in every single aspect, from even the smallest role all the way to the leads.

It should be no surprise that the stirring, ominous, and moody score is the work of James Newton Howard.  It certainly has some gothic and choral elements giving the film a darkly cathedral sound.  It is plenty haunting, especially going into the third act when everything becomes very wicked and surreal.  It’s overall a striking and potent work that regularly maintains that unsettling and foreboding supernatural tone I mentioned before.

The film is also so damn well shot.  The cinematography gives the film such scope and foreboding atmosphere.  It brings profound grandeur and artistry to the thematic weight of the story.  While Andrzej Bartkowiak hasn’t shot much worth noting, he does a remarkable job on this film teamed with director Taylor Hackford.  That cinematography shows off the cultured and artistically modern, for the time, production designs.  John Milton’s office and especially penthouse home are designed with gorgeous vision by Bruno Rubeo.  The location shooting shows off the deep character of the city of New York.  The filmmakers even secured the golden apartment of Donald Trump for that of Alex Cullen.  This authenticity adds so much depth of detail to the film.

The Devil’s Advocate is definitely filled with an array of chilling images and grisly moments.  These are all handled with immense weight and artistry.  Digital effects are used greatly morphing one person’s face, subtly, into a demonic visage, or haunting Mary Ann with other surreal sights.  The climax has some ambitious CGI between the morphing piece of artwork and the explosive fiery effects.  However, the best moments of horror are more practical and psychologically based.  They tap into the unholy evil that looms over everyone twisting peoples’ lives into a tangled web of destruction, and it creates thick tension and taut suspense.  Something fearful has befallen their lives, and it is corrupting in ways they cannot comprehend.  This is all masterfully and intelligently crafted with a strong atmosphere that is like the rumbling of thunder on the horizon.  A dark storm is coming that none of them are prepared for, let alone can see.

The Devil’s Advocate has an amazing and stunning finale punctuated gloriously over the end credits by the Rolling Stones’ “Paint it Black.”  This really is a magnificently conceived and executed film.  Backed by an immensely talented cast, this delivers strongly with strong thematic material and brilliantly realized imagery that chills and frightens.  Aside from some CGI that might not measure up to modern standards, there is nothing negative I can say about this film.  While the 90s where not the best decade for horror, this is certainly one of smartest and most dimensional horror films of that decade which brought us The Exorcist III, New Nightmare, Lord of Illusions, In The Mouth of Madness, and Scream.


Constantine (2005)

I very much love this film, and count it as an all time favorite.  I saw it twice in the theatre in 2005 because I was very much enthralled by the concept of the film and the excellent execution of all its characters and ideas.  It has since remained a strong favorite of the genre for me, and has driven my fandom of John Constantine further.  I was not knowledgeable about him before seeing this adaptation, but in the years since then, I have become a fan.  In the Hellblazer comics from DC / Vertigo, he was a blonde Englishman created by the widely revered Alan Moore and visually based off of Sting, the front man for The Police.  Obviously, that does not fit the description of Keanu Reeves, who portrays the title character as a dark haired American in Los Angeles, and there are numerous other changes here that deviate from the source material.  That inevitably irritated numerous hardcore Hellblazer fans, but since this was my introduction to him, I can allow both versions to co-exist in my fandom.   There are many reasons why I highly love this film including its gorgeous visual style, the world it showcases, and the potential of the characters.

It is said that whoever possesses the Spear of Destiny holds the fate of the world in their hands, and the Spear of Destiny has just been found and put into the hands of evil influences.  In Los Angeles, exorcist and occult detective John Constantine (Keanu Reeves) begins to see foreboding signs of something big and unfriendly coming with demons forcing their way into our world, but at the same time, the anti-social chain smoker is diagnosed with lung cancer.  It’s not so much the diagnosis that troubles him as the knowledge of where he’s going.  John was born with a gift he didn’t want, the ability to clearly recognize the half-breed angels and demons that walk the earth in human skin, and Constantine was driven to take his own life to escape the tormenting clarity of his vision, but he failed.  Now, marked as an attempted suicide with a temporary lease on life, the bitter hard-drinking, hard-living Constantine seeks a reprieve from his Hellbound fate.  He patrols the earthly border between heaven and hell, hoping in vain to earn his way to salvation by sending the devil’s foot soldiers back to the depths.  Unfortunately, he gains no absolution from the half-breed angel Gabriel (Tilda Swinton), and no consolation from strenuous allies such as the ominous former witch doctor Papa Midnite (Djimon Hounsou).  They all adhere to “The Balance” which keeps half-breeds from directly interfering in human affairs in order to settle a wager between God and the Devil for the souls of all mankind.  When desperate but skeptical LAPD Detective Angela Dodson (Rachel Weisz) enlists his help in solving the mysterious death of her beloved psychic twin sister, their investigation pushes them deep into a subversive plot to use the Spear of Destiny to bring forth an evil that threatens to destroy humanity.  Caught in a catastrophic series of otherworldly events, the two become inextricably involved, and seek to find their own peace at whatever cost.

Director Francis Lawrence came from a music video background, and that can be hit or miss when moving to feature films.  However, Lawrence’s background was clearly a benefit as he injects a very powerful and epic visual style into this film.  Director of Photography Philippe Rousselot realizes that immersive vision brilliantly.  His composition is rock solid creating very engaging visuals that pull an audience into the story and characters.  There is depth to spare in his frames, and plenty of grace and integrity in how he shoots everything.  There’s never any handheld camera work.  It’s all fluid movement that contributes to the overall enveloping otherworldly tone of the picture.  The use of color temperatures is very key to the atmosphere as it accentuates the dramatic tones throughout with a vibrant palette.  This is a gracefully shot film with great attention to creating a unique atmosphere and tone in its visuals.

The overall quality of the visual effects are stunning.  They are exceptionally consistent and of an amazing high quality.  From subtle effects like the fiery glint in the eyes of demons to the enveloping landscape of the Hell version of Los Angeles, they create a complete, rich, textured, and full world for John Constantine to exist within that is truly convincing.  The fearsome demonic creatures seen throughout are designed with consistency and originality.  This feels like a world with its own weathered history, and attention is paid to every detail to present it as such.  The entire “into the light” effect in the climax is awesome as the shadows are literally pulled away to force the evil presence into view.  There is never just one effect used over and over again as a crutch.  The film is full of vibrant effects that give the film its fantastical flare.  Overall, every effect is just executed and presented with amazing artistry complementing Francis Lawrence’s vision beautifully.

I also very highly enjoy the score to Constantine.  It has a great atmospheric, haunting electronic style that further fleshes out the otherworldly quality of the film, but still incorporates plenty of traditional score elements that punctuate the rousing, dramatic sequences as well as the softer, more intimate emotions of the film.  Composers Klaus Badelt & Brian Tyler put together one hell of a unique musical accomplishment with this.  I’ve never heard a score quite like this before, and it works so amazingly well.  There is a great use of melody all throughout which enhances the emotional depth that this film is truly rich with.  This is definitely a film that takes a different approach to things to give an audience a very distinctive identity for an all encompassing experience.  The addition of the song “Passive” from A Perfect Circle is wicked cool in my opinion.  It truly set a great tone entering into Papa Midnite’s club.

These enveloping elements wrap together to create a very rich story with a tone full of integrity and gravity.  It can be a very haunting and scary film that uses horror elements at times, but is best categorized as a supernatural dark fantasy action film.  The action in the film are not big set pieces with spectacular stunts.  John’s not some bad ass action hero who can slug it out with a demon.  Instead, he uses his occult and demonic knowledge as well as his skills as a con artist to help him win battles.  He fights smart using the tools he has acquired which exploit the weaknesses of his enemies such as holy water, Moses’ shroud, a pair of Holy Cross brass knuckles, dragon’s breath, and various eclectic items provided to him by his allies.

This story is partially inspired by the Dangerous Habits comics storyline, which I have read.  There’s little directly adapted from that story, and is more just taking the premise of Constantine being diagnosed with lung cancer and having to cope with that.  How he deals with it and the resolutions of the comic and the film are very different, but both greatly show off John’s cunning skill as a con artist to varying degrees.

Constantine himself is very fascinating, and I think this version of him is well portrayed by Keanu Reeves.  I am quite a big fan of his work ranking Point Break as one of my absolute favorite films ever.  I find his work quite enjoyable, and he has some highly impressive acting ability.  I think his approach tends to be more subtle, and with Constantine, he really drives home a very diverse character.  Reeves showcases Constantine’s jaded personality with depth and purpose.  He brings out that worn down, weathered texture that makes the character so intriguing and surprising.  He can be an outright asshole because he’s been both plagued by the knowledge he has about the world around him, and that he’s destined to spend eternity in Hell, regardless of what he does.  He’s tired and frustrated by these rules that these so-called “higher beings” have imposed upon humanity for their own sport, and he knows there’s little he can do to combat that.  Keanu gives the character enough edge while still maintaining an underlying sense of humanity which evolves through the film.  As the story goes along, he becomes more and more invested in Angela as a person instead of just her being a cog in a larger plot.  You gradually see the bond form between the characters, and how that starts to drive John’s actions.  There’s a pivotal shift in there where he stops sulking in his own pain and starts seeing Angela’s.  He sees her regret and how far she’s willing to go to mend it.  John can still be an asshole, but ultimately, it’s just to those that deserve it.  Reeves portrays these subtle and strong emotional beats powerfully showing that there’s more to Constantine beyond that spiteful, embittered exterior.

Another subtle part of John that’s retained from the comics is how his friends constantly pay the price for his battles.  In the comics, John is haunted by the ghosts of his dead friends, and the screenwriters slipped a brief line in here about John not needing another ghost following him around.  So, it’s no wonder that he’s as cynical and jaded as he is, but it’s also these circumstances which drive him to fight.  He challenges everyone on their egotistical or hypocritical behavior, and allows no one to slide.

However, the arc for the character takes him from being a self-serving person who fights evil for his own sake to someone that does the right thing for the sake of others.  It takes nothing away from the hardened core of the character, it just makes him an actual hero by the end.  That is helped immensely by Rachel Weisz’s emotionally impactful performance.  Reeves and Weisz had previously worked together on the 1996 film Chain Reaction as love interests, and perhaps that added a stronger chemistry between them.  In this film, their chemistry is exceptionally solid and tight.  They have great back-and-forth dialogue with sharp timing and rich character dynamics.  Angela is also easily able to stand up to John’s abrasive attitude which is a welcomed quality.  Weisz strongly portrays the more emotionally and psychologically vulnerable counter-balance of the story.  This allows an audience to have a relatable conduit into the character of John Constantine and his supernatural world.  Rachel Weisz is an incredible actress showcasing a wide range of abilities here.  She is remarkably powerful bringing out the emotional pain that Angela has deep within.  However, while Angela is vulnerable, she is a police detective, and thus, Weisz never makes her appear helpless or incapable of defending herself.  She has a definite strong will and confidence about her mixed in with a grounded, engaging charm.  It’s simply that the character been impacted by tragic events, and is thrust into a potentially frightening scenario which brings out those fearful or unstable elements in her.  Weisz handles it all with dramatic weight and grace.

It is also immensely impressive how strong the supporting cast is in Constantine.  Djimon Hounsou has such an awesome presence as the witch doctor turned night club owner Papa Midnite.  His deep voice and subtle charisma give weight and gravity to his performance.  He can be greatly imposing and intimidating without even standing up in his initial scene.  Hounsou and Reeves spark a fascinating chemistry.  They play the characters with a sense of shared history which has its turbulent areas which causes friction and some antagonism between them.  The screenwriters had a good philosophy of the best way to convey exposition about a character is to show them working.  You get to know more about Midnite and Constantine through what they do and how they go about doing it than can really be conveyed through straight dialogue interactions.  This is showcased beautifully in the sequence with “The Chair” which allows John to see the path the Spear of Destiny has taken recently, and to find out where Angela has been taken.  It’s a manner of operating alluding to information that is necessary for them to know to do what they need to do, but is not necessary to be spelled out for the audience.  This further reflects the sense that this a world with a long, textured history between characters, and it is presented in a very smart way that never bogs down the film with extraneous exposition.  Midnite himself has a very pleasing arc in the story that ultimately shows Hounsou’s range and charm.  He makes the character very fascinating, imposing, but ultimately, highly pleasing.

Tilda Swinton is immaculately graceful and elegant as the half-breed angel Gabriel.  The filmmakers chose to go with an androgynous quality for the character, and absolutely wanted Swinton for the role.  They chose incredibly well.  Her performance has a gentle compassion that eventually turns into a subtle megalomaniacal mindset.  She also has an ethereal aura and presence about her that is pitch perfect.  It’s a nice dynamic when Constantine goes to see her with him ranting and calling out the hypocrisy at hand, but she offers up a very warm, motherly tone with him.  They are both trying to make each other see things from their perspective, and neither is entirely in the right.  There is a very aristocratic, snobbish mentality from Gabriel that John can’t stomach, and it works so exceptionally well for this character.  It’s such a remarkable performance that the words to describe it in depth escape me.

Now, this film was before Shia LeBouf started grating on peoples’ nerves, but here, there’s enough heart and charm with him as Chas to make his performance a pleasure.  Chas is spirited and driven to be given the chance to be of real assistance to Constantine instead of just his personal cab driver, but John just knows the danger of allowing him to do so.  Yet, Chas is eventually given the chance to show his worth.  As with everyone else, the chemistry is dead on the mark perfect.  Gavin Rossdale’s turn as the demon Balthazar is oozing with charisma.  He relishes being engulfed in evil, and that delicious smarmy arrogance just pours out over the screen.  The tension and spite between him and John is thick as can be.  You can’t help but love and hate him all at the same time.  All of the actors throughout the film really inhabited their characters with exceptional commitment and nuance, and came together as a cohesive whole to deliver something diverse and marvelous.

Of course, there is Peter Stormare’s magnificent performance as Lucifer himself.  There have been so many portrayals of the Devil over the years in cinema from some massively talented actors, and each portrayal has been unique.  Stormare takes unique to a whole new level here.  The physicality alone is unsettling as if he’s trying to uncomfortably fit back into a human form like it’s an old out of shape body suit, and it results in some peculiar and tense nervous energy.  The look is striking enough without devolving into shock.  The shaved eyebrows and shorn haircut along with the tattoos really present a standout visual that separates Lucifer from everyone else in the film.  Stormare takes all of this to forge a weirdly eccentric Devil that doesn’t need to flaunt an ego or boast of his power.  His creepy, chilling presence sells everything.  The addition of the pure white suit and bare feet was a nice touch, and it really fits the visual aesthetics of the film.

While I have nothing against a well done origin, it is very commendable that this is not an origin story spending a large percentage of the film showing how Constantine became the man he is today.  His back story is not even revealed until well into the second act as we get to know it alongside Angela, and allusions to other shared histories are sprinkled throughout.  The film treats its audience as intelligent by not having to explain every little thing.  It presents a world, gradually lays out the general parameters of how it works, and then, allows it to envelop the audience.  I like this approach for the character because there is a lot of John Constantine history that is very relevant to the character, but it would be nigh impossible to hit all the poignant marks to develop him fully in a two hour film.  Starting a film series here is very interesting because it takes John from the jaded, weathered depths to someone more purposeful and formidable.  It is a greatly executed arc wrapped up in a strong plotline backed by some excellent talents in front of and behind the camera.

It seems hard to judge where this movie stands in terms of general consensus.  It’s not one of those comic book movies everyone talks about, or includes on the list of the best or worst adaptations.  I seem to perceive this as a film that had good commercial success, but tends to get overlooked for no apparent reason.  Professional critics were divided on it, but the thing with critics is that they get paid to go see movies they are not always pre-disposed to enjoy.  This was a movie that appealed to my tastes via its marketing, and it did blow me away.  Again, the hardcore fans of Hellblazer likely had their passionate gripes with all the changes made to the established elements of the property, but it’s not a bad film at all.  It’s exceptionally well made from a filmmaker with great vision and artistry, and features an amazing cast that put their all into it.  From an objective point of view, it’s a greatly entertaining and satisfying film.  It has plenty of interesting action, an excellently crafted world, fantastic, stunning visual effects, a unique and fascinating score, and is just generally well written all the way around.  I really love this film, and I love what I’ve read in the Hellblazer trade paperbacks.  Both offer me something different but equally satisfying to my tastes for supernatural horror and dark fantasy.  If you’re unfamiliar with the property, this film can ease you into the heavier subject matter and grittier feel of the comics, but they are two unmistakably different presentations on the characters and the world they inhabit.  Taking the film on its own merits, it’s a highly imaginative, excellent piece of work that is worth investing your time and interest in.


Prince of Darkness (1987)

Prince of Darkness is certainly one of John Carpenter’s stranger and more underappreciated films.  It’s the second installment in what Carpenter calls his “apocalypse trilogy” (which includes 1982’s The Thing and 1995’s In The Mouth of Madness).  Simply put, this film is about the coming of the apocalypse, and the arrival of the Prince of Darkness – Satan himself.  This is one seriously eerie and creepy film, but it has the slowest pace of any Carpenter film I have seen.  I believe this film comes as an acquired taste.  It can take multiple viewings to really enjoy it fully, as it did for me.

A group of scientists, students, and priests – led by Father Loomis (Donald Pleasance) and Professor Howard Birack (Victor Wong) – have come to study a mysterious canister which has been sealed away in the basement of a Los Angeles church.  The eerie green liquid inside this canister proves to be supernatural as it defies gravity, leaking upwards to the ceiling, and soon, it’s discovered that it is self-organizing as part of a living intelligence.  This has made way for changes to occur in nature that herald the coming of something evil.  And those who come into contact with this liquid are transformed into mindless undead slaves of Satan himself.  Outside the church, the homeless and derelicts of Los Angeles become powerless against the influence of hell.  The few human beings inside the church are trapped – barricading themselves inside with threats all around them.  Theories are abound as to what is happening and philosophies about heaven, hell, and all of creation.  But whatever forces are at work, these few people must not only survive these servants of hell, but also prevent the coming of the Prince of Darkness from the other side.

If you choose to watch this film, I suggest you get things as dark and as quite as possible, put in the DVD, get that surround sound just right, and get ready to experience one of the most haunting, frightening films ever.  This is possibly the most taut and suspenseful Carpenter film of all-time.  The master of terror gives us a film that nobody should easily be able to forget.  The score from John Carpenter & Alan Howarth is absolutely mesmerizing and powerful.  Right from the beginning, it sucks you into a creepy and absolutely ominous world, and doesn’t let go until the end credits have finished.  It’s an absorbing, killer work of musicianship that compliments the film marvelously.

The effects here are great.  There’s nothing here as complex as in The Thing (which Rob Bottin really delivered something groundbreaking), but there’s plenty of scary makeup work and visuals to unsettle any audience.  There’s such apocalyptic biblical imagery here – including swarms of creepy crawly critters – that it will have you squirming and jumping from your seat.  John Carpenter wrote the screenplay under the pseudonym “Martin Quartermass,” and man, he does just such an amazing job eliciting such haunting emotions.  The film has such a suspenseful power that it could ONLY come from John Carpenter.

That pseudonym is only one of several that Carpenter has employed in his career.  He uses them because he feels uncomfortable with his name plastered all over the credits as if it’s an egotistical thing to take so much credit.  Me, I believe in everyone getting the credit they deserve for the hard work they do.  The fact of the matter is that I know who Martin Quartermass, John T. Chance, and Frank Armitage are, and it is still John Carpenter’s Prince of Darkness.

The cast is full of Carpenter regulars such as Donald Pleaseance (Halloween, Escape From New York), Victor Wong & Dennis Dun (Big Trouble in Little China), and Peter Jason (They Live, In The Mouth of Madness).  Also, Jameson Parker from TV’s Simon & Simon is in a lead role as well.  It’s very much a Carpenter style cast in that he doesn’t cast big stars, but a lot of strong character actors that give the film a textured diversity.  I really enjoy all their talents, and they all put in fantastic efforts.  John Carpenter has always been great in the casting department (probably best displayed in The Thing).  We even get a cameo from shock-rocker Alice Cooper, and he contributes the title song from the album of the same name.  The song only appears in a small scene, and via a guy’s walkman radio.  In any case, it’s always nice to see Alice appear in a horror film via an acting role or as a musician.  He has no lines, but appears creepy enough as one of the derelict servants outside the church.  Overall, this cast gives a lot of life and character to this slow-paced film.

In a way, this is different from most Carpenter movies, mainly in pace.  He’s always made very smart pictures, and his horror has never been something you can entirely shut your brain off for.  And while Prince of Darkness is full of atmosphere that drives every horror element forward, it is much more an idea and philosophy driven screenplay.  There are very few action set pieces as the danger and horror are played through tense atmosphere and chilling visuals.  It’s a film that crawls in under your skin slowly, and requires you to stay mentally aware of what’s happening for it to have the proper effect.

There’s a good deal of discussion in the film about philosophies regarding dreams, death, hell, religion, and so forth.  This adds to the psychological aspect of the film since it revolves around such supernatural or paranormal phenomena birthed out of an ancient evil covered up by the church.  With the film having such a wide ensemble cast, they have plenty of room for differing opinions and beliefs, but don’t let this make you think the film gets bogged down by it.  Not at all.  As they uncover more truths, it enhances the fearful and foreboding atmosphere of the film.  There is a haunting evil taking form in their presence, and it is slowly consuming them either physically or psychologically.

In everyone’s dreams, they see a transmission from the future of a dark figure exiting the front of the church they are all holed up in.  They get only bits and pieces, but they all share it getting a little more each time they fall asleep.  It is another piece of the foreboding doom that lies ahead of them, and it is immensely effective.

Prince of Darkness definitely has similarities to an old style zombie film where a group of mismatched people have to fend for their lives against an undead army.  However, Carpenter just pushes it further with so much more substance and unsettling visuals.  This really is a nightmare come to life.  A constant theme in Carpenter’s Apocalypse Trilogy is some sort of force consuming humanity and deteriorating it into something entirely inhuman.  In The Thing, it’s an actual alien life form that perfectly duplicates any organism it infects which could eventually wipe out the human race.  With In The Mouth of Madness, reality is twisted and distorted to where people become psychotic and homicidal in the wake of ancient evil reclaiming our world.  In Prince of Darkness, it’s sort of a bridge between the concepts.  As an ancient evil slowly claws its way back into our world, it also consumes nature and humanity until they become entirely mindless, inhuman servants.  Coming from three different screenwriters on three different films, that is an entirely fascinating conceptual arc.

This film is undoubtedly one of John Carpenter’s finest works.  Some don’t take a good liking to it because of its slow, slow pace, and its focus more on suspense than physical intensity.  Whatever the case, I find it to be a masterwork worthy of inclusion to anyone’s DVD collection.  The cast is very good, fun at times, but solid always.  The score is pure gold, a powerful accomplishment for Carpenter and Alan Howarth.  As in any Carpenter film, the cinematography is stellar, and the direction is absolutely phenomenal!  If you genuinely want to get creeped out to the max one dark, lonely night – this is the one film to watch!  I won’t say that Prince of Darkness is a perfect film as the pace can be a detractor to its potential.  Part of good tension and suspense is momentum, and it’s not entirely consistent here.  However, it is a great flick, and I will give it a great 9 out of 10.  If nothing else, the ending will grab you like only a John Carpenter film can!