After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious life-form, and they soon realize that its life cycle has merely begun.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A giant great white shark arrives on the shores of a New England beach resort and wreaks havoc with bloody attacks on swimmers, until a local sheriff teams up with a marine biologist and an old seafarer to hunt the monster down.
A seemingly indestructible humanoid cyborg is sent from 2029 to 1984 to assassinate a waitress, whose unborn son will lead humanity in a war against the machines, while a soldier from that war is sent to protect her at all costs.
A US research station, Antarctica, early-winter 1982. The base is suddenly buzzed by a helicopter from the nearby Norwegian research station. They are trying to kill a dog that has escaped from their base. After the destruction of the Norwegian chopper the members of the US team fly to the Norwegian base, only to discover them all dead or missing. They do find the remains of a strange creature the Norwegians burned. The Americans take it to their base and deduce that it is an alien life form. After a while it is apparent that the alien can take over and assimilate into other life forms, including humans, and can spread like a virus. This means that anyone at the base could be inhabited by The Thing, and tensions escalate. Written by
The final confrontation with the Thing required the assistance of fifty technicians. See more »
Between the time Fuchs talks to Mac about Blair's notes, calling the snowcat 'the Thiokol' (another brand of snowcat) the logo and model changes from a Skidozer 301, with its model name between the headlights, to a 302, with the Bombardier lettering between the headlights and the model name lower down to the left side (screen right). When they take Blair out to be locked up, the snowcat is again a 301 (you can see the blue model-plate between the headlights, not the black-on-yellow of the 302's Bombardier lettering). See more »
You reach anybody, yet?
Reach anybody? We're a thousand miles from nowhere, man, and it's gonna get a hell of a lot worse before it gets any better!
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Looking back on John Carpenter's The Thing today a highly treasured cult favourite one has to wonder why it was dismissed by both the audience and critics when it first came out in 1982.
Steven Spielberg's extra terrestrial adventure about a sweet alien that phoned home (that stole the hearts of both children and adults world wide) had opened just two weeks before and was on its historic box office rampage. Bad scheduling may have had a greater impact than anything else on the fate of Carpenter's first big studio effort for Universal Pictures. Nobody was prepared moreover wanted anything so dark, gory and scary as this genuine remake of the famous 1951 original. This was the time of E.T.: The Extra-Terrestrial.
It then makes for great movie history trivia, that The Thing has gained such a remarkable afterlife on video, DVD and television. Both financially and critically. Carpenter's version is less a remake of the Howard Hawks' version than a more faithful adaptation of John W. Campbell's short story "Who Goes There?' (on which both were based), and critics today point out how well Carpenter plays his characters against each other. Kurt Russell will never top this one, and he gets a brilliant sparring from the entire cast.
It opens in Antarctica with a sled husky running from a pair of crazed and armed Norwegian men in a helicopter. The scene is long, slow and uneasy. It feels like the Apocalypse. It oozes doomsday.
This scene comprises one of the greatest opening sequences in film history.
Ennio Morricone's moody synth score (heavy on naked thumping bass lines in classic Carpenter style), the windswept massive white of the desolate polar ice and the majestic husky running across the tundra chased by the chopper, compromises a completely mesmerizing piece of scenery.
A satisfying example of a movie that today 18 years after looks downright muscular in its simplicity.
The budget was big ($14 mill), yet it allowed Carpenter to visualize his ideas better than ever before. There's a brooding darkness to this film, making the whites and blues of the icy Antarctic claustrophobia seem poetic and almost angelic. Dean Cundey's extraordinary photography created a palpable chill to every shot. The careful preparation (the crew went into a record 11-month pre-production) paid off immensely.
Horror specialist Rob Bottin was handpicked for the many gory and grotesque special effects. Be warned there's a lot of splatter and gore here. The Thing is actually notorious for its creature morphing scenes. Some find them disgusting, some mere cult.
An argument could be made against The Thing being an Alien rip-off; it has its origins in an old sci-fi story and it creates tension by popping a crowd of people (note: all-male) on an isolated outpost (an Antarctic research facility) terrorized by an alien life form.
Where Carpenter was clearly inspired by Ridley Scott's 1979 masterpiece, his own alien movie is original and intriguing in its own right. There's a rhythm and an environment that equals Scott's in every way.
The husky was in fact half-wolf and half-dog, and it was noted that it never barked or growled on or off the set (Horror Takes Shape, the making of - DVD version).
Watch in awe at the scene where it walks through the hallway and stares at a human shadow, slightly tilting its head forward in stalking position like a wild wolf. This is a fine piece of animal training, sure, but that's not the point. This is as spooky as anything ever made in a horror movie.
Carpenter had all the right tools here, and he utilized them to perfection, making The Thing his best movie alongside Halloween.
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