The Thing, Prince of Darkness and In the Mouth of Madness, John Carpenter’s Apocalypse Trilogy, ended the world in style.
A story has a beginning, a middle, and an end. Maybe that’s why the trilogy is such a satisfying structure for so many epic series or curious corners of cinema history. This year in Triple Threat, Ken Lowe revisits another of cinema’s best trilogies each month, including some unofficial trilogies that have come to define a director, actor, or time in film history. You can follow the series, and cinema is poorer for it.
The Norwegians have dug up a spaceship that appears to be 100,000 years old, and a creature that has been frozen in the ice for just as long. It turns out that this alien lifeform is a predator that absorbs its prey, and then perfectly mimics it. It’s the universe’s most devastatingly effective ambush predator, and if it isn’t stopped, it’ll take over the whole world in a matter of months. That’s a classic paranoiac 1950s Cold War-era premise, of course.
—but it’s easy to see why Carpenter calls this part of a trilogy of the same movies. It’s an unknowable malign influence breaching its way into our world, and the only people standing in its way aren’t up to the task of defeating it. With Cane’s agent in tow, Neill drives out into the rural Northeast—the film was shot on locations that are clear homages to the smalltown Northeastern dread of King and Lovecraft both. Once there, reality seems to unravel and become more and more suffused with the weirdness of Cane’s novels, until Neill can’t even be entirely certain he’s not an invention of the author. The movie ends by breaking the fourth wall, after the entire world has already succumbed to the madness of Cane’s vision.
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