John Carpenter is often hailed as one of the masters of horror filmmaking. Here's how his films stack up against one another.
The latter half of the 20th century was John Carpenter’s playground. The well-renowned master of horror enjoyed a meteoric rise from humble beginnings, producing some of the most memorable movies of the century, like Halloween, Prince of Darkness, and The Thing. These movies went on to become classics in their respective genres, breaking new ground and becoming models for future films that would try to replicate elements of what made them so distinct. Halloween is even considered to be the first true slasher movie. The director was famous for taking on many different elements of production, and notably, he even composed the score for most of his movies and continues to release music today.
Carpenter was a master filmmaker, but he was also prolific, meaning that not all of his films were as well received as the ones mentioned above. How does the rest of his filmography compare to those standout titles? Here are 8 of John Carpenter’s best films, ranked.
Ghostly sailors begin killing locals of a small Californian town, enacting revenge for their murders over a century prior to the events of the film. The atmosphere and setting of The Fog have become iconic thanks to the visual flair added by the cinematographers of the film, but the overall reception was generally negative. Like many of Carpenter's films, it was still a commercial success, and a cult following formed in the years after, with many praising its well-realized aesthetic and creepy atmosphere. Many felt that it was too predictable and that the antagonists had no good characterization or allure unlike in Halloween. Carpenter himself believed that this was not one of his best films, and chose to undertake a series of reshoots to reassemble the film after it had been shot. Despite his disdain for it, rumors of a sequel have persisted as recently as 2021.
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Combining vague metaphysical concepts from quantum physics and christianity, Prince of Darkness positions Satan as an extraterrestrial being, whose essence is captured in a bottle and threatens to be released. The onus of the problem on a group of academics, who are expectedly very unsuited to dealing with the essence of Satan in a bottle. The premise of the film is suitably spooky, and would inspire yet another cult following obsessed with Carpenter’s eccentric sense for world building. There isn't a strong internal logic to how the demons in this story work, but the practical effects and the cinematography have become incredibly crystalized in the minds of its fans. Critics found the characters unlikable and the plot a little too tenuous to support its scares, but the movie has found a home among die-hard Carpenter fans and those who love the unique aesthetic of 80s horror that the director is responsible for establishing.
Surprise, surprise! They Live is yet another Carpenter film polarized in reception between critics and cult fans. In the film, sunglasses allow people to see hidden messages and propaganda in mass media messaging, like billboards and TV ads. They also reveal aliens masquerading as people, who have recruited the ultra-rich to remake Earth in their image. This film is a critique of unrestricted capitalism, inspired by Carpenter’s disdain for Reagan-era economic policies and his revelations that much of the television he was watching was designed to sell products. The story is undoubtedly silly, ripe with plot holes and unimaginative visual effects, but has been reclaimed by a group of fans who praise its anti capitalist message and inventive blend of horror and science fiction.
Escape From New York is another one of Carpenter’s films that would go on to become an inspiration for other brilliant storytellers to create their own vivid worlds. Both Hideo Kojima, creator of the video game series Metal Gear Solid and William Gibson, pioneer of the cyberpunk aesthetic, have cited Escape From New York as a major influence on their work. Imagining an America shaken by the cold war, the premise of the film establishes a giant prison zone in what was formerly Manhattan. The story follows Snake Plisskin, played by Kurt Russell, who has to rescue the president from a group of insurrectionists inside the prison zone. The reception to the movie reveals a common thread of reviewers feeling unsatisfied by Carpenter’s B-movie sensibilities paired with his typically aspirational, sensational subject matter. But it’s that exact combination that enthralls the group of fans who continue to form cult followings around his movies. Carpenter himself mentioned excitement at the thought of sequels to this film.
Taking his skills with directing horror into the thriller genre, Carpenter received huge critical acclaim (though not without division) for Assault on Precinct 13, which depicts a gang war between a Los Angeles gang and an abandoned police department. Critics praised the incredibly energetic atmosphere and movement that carries the film forward through scenes of escalating violence. As an exploitation film released in 1976, it reflected growing fears about senseless violence through gang warfare and other sources popular at the time. The film was praised by critics for successfully bringing his senses for fear-building to an urban warfare environment.
Inspired by the works of H.P.Lovecraft, this film explores the same type of mind-shattering insanity that characterizes Lovecraft’s work. In The Mouth of Madness follows a character named Trent, who falls further and further into the world of a sadistic horror novelist whose stories and monsters have materialized into real life. It’s as eccentric a premise as most other works by Carpenter, and was lambasted by critics for being hard to follow and implausible. Some also criticized the movie’s lack of wit and lumbering plot beats, calling it boring. However, the premises of many modern indie horror movies pull from the same over-the-top and disconnected-from-reality type of stories as Carpenter’s work. It's possible that this film has been overlooked as a major influence on modern horror aesthetics.
Single handedly responsible for the creation of the slasher sub genre, Halloween is a movie that has been immortalized, figuratively by its fans and literally by the Library of Congress. Michael Myers is the personification of evil in this horror-thriller, and relentlessly hunts a young girl played by Jamie Lee Curtis in her acting debut. The success of Halloween is in Carpenter’s masterful way of delaying and releasing tension between scares, making the scariest moments the ones where audiences hold their breath expecting the worst to happen. Modern reception to the movie has been overwhelmingly positive, and may be the single most beloved movie by John Carpenter with the exception of the next entry on this list.
Related: Halloween Ends Will Be an Intimate Coming-of-Age Story
A group of researchers in Antarctica encounter an extra terrestrial life form trapped beneath the ice. Upon unearthing it, it begins eating and assuming the form of other life forms, creating a tense atmosphere of paranoia as the researchers try and work out where the parasite is and how to eliminate it. As a study in tension and terror, there are few films that create such a tense mood as effectively as The Thing. Inspired production design and cinematography make this icy setting feel claustrophobic and foreboding between every cut. Like many of Carpenter’s movies, it was received poorly on its initial release, with many critics degrading its cynical and nihilistic tone and comparing it unfavorably with other science fiction movies of the era. Today, it’s widely praised as one of the best horror stories of its era, and its practical effects have been hailed as a hallmark of ingenuity by the production crew.
One of the most unique and well-executed found footage films released in 2021 was the Thai supernatural horror movie The Medium.
Artie Ghosh is a hot-blooded young writer looking to hone his skills with the written word in his favorite world, the entertainment industry.