Music Review: JOHN CARPENTER––LIVE RETROSPECTIVE, IN CONCERT (2016, Manhattan, NY)

Last Friday, it was my pleasure to see John Carpenter––horror master, composer of electronic music, and one of my cinematic heroes––live in concert at the PlayStation Theater in Times Square.

Carpenter (affectionately and frequently referred to as "Carpy" by this site) has deliberately kept a low profile for much of the last decade, having directed only one feature film and two episodes of Showtime's MASTERS OF HORROR since 2001. However, the past year has seen a sort of New Carpenter Renaissance: he's released two new albums (the brilliant LOST THEMES and LOST THEMES II, both of which are the atmospheric equivalent of new Carpenter films), issued three music videos, announced his intention to produce a HALLOWEEN movie for the first time since 1982, and has been touring with the "John Carpenter Live Retrospective," a concert series of film music, new and old, accompanied by projected scenes from his classic films. It was this Live Retrospective that I was able to see on Friday along with a packed house of fellow Carpy enthusiasts (a crowd of around 2,000). Let me tell you about it!

The lineup consisted of John Carpenter himself on one synthesizer, his son Cody Carpenter handling multiple synths, Daniel Davies [Carpy's godson and son of The Kinks' Dave Davies (who collaborated on IN THE MOUTH OF MADNESS and VILLAGE OF THE DAMNED '95) ] on lead guitar, John Konesky on guitar, John Spiker on bass, and Scott Seiver on drums: the same lineup seen in Carpenter's recent music videos. Carpenter himself looked rather formidable, dressed all in black with his trademark mustache and long white hair pulled back into a ponytail. At 68, he's still got a real spring in his step, and often visibly grooved to the beat, gave the sign of the horns, or encouraged the audience to clap along. This was not the "lovably irascible" Carpenter who makes the headlines on nerdy websites every few months when he opines on the shortcomings of contemporary horror, etc. This was a laid back, funky Carpenter––this was Carpenter having fun! (As usual, he was a man of few words, but I'll recount the most memorable ones as I describe his set list.)

He opened, appropriately, with ESCAPE FROM NEW YORK's "Main Title," a classic selection which really got the crowd going. Across the board, I must say that Carpenter's band has a nice, thick sound, and the live arrangements generally differ from the album/soundtrack versions in that there's a greater prevalence of drum orchestration and guitar solos, which ultimately makes for a more satisfying live experience.

Carpy and his crew rock out to ESCAPE FROM NEW YORK. Photo courtesy of John Carpenter's official Facebook page.

Next was ASSAULT ON PRECINCT 13's iconic "Main Title," Carpy's first big hit and one so popular that it was even remixed for French discotheques!  (Carpenter declined to play the disco version.)

He followed with two tracks from LOST THEMES, the nostalgic "Vortex" and the thoughtful "Mystery," both pumped up by new arrangements which allowed for an impressive drum foundation and an extended guitar solo from Davies.

After taking a moment to describe his love for ghost movies, Carpy & Co. turned their attention to THE FOG's "Main Title," as blue lights shone bright and the fog machines were turned to full blast. It was a moment of true magic to see Carpenter pounding out that baroque melody while enveloped by his iconic blue fog.

Carpenter and his band proceeded to don sunglasses, and bassist John Spiker plucked out the first five notes from THEY LIVE. The crowd erupted in recognition as "OBEY," "CONSUME," "CONFORM," and "SLEEP" were projected on the screen behind the band. They continued with the rest of "Coming to L.A." (the main theme of THEY LIVE), and when the projection featured Keith David and Roddy Piper's famous fistfight, there was a rather enthusiastic response from the crowd, to say the least.

Next was the only non-Carpenter-composed song of the evening (sorry, STARMAN die-hards––no Jack Nitzsche for you!): the Ennio Morricone-scored "Main Title" from THE THING. Carpenter gave a special shout-out to Morricone as the ominous bass line began to rattle the room.  Stark white light set the proper Antarctic mood, one which was later accompanied by projections of some of the more gruesome (and crowd-pleasing) scenes from THE THING. He followed this up with "Distant Dream" (the opening track from LOST THEMES II), which served as a sort of palate cleanser after that relentless, bassy doom and gloom.

Carpenter dedicated the following song to "a friend I made five movies with, but the most fun we ever had was when we went looking for a girl with green eyes."

There's Biiiiiig Trouble....in Little China! Photo courtesy of John Carpenter's official Facebook page.

Obviously, the friend was Kurt Russell, and the song was "Pork Chop Express," the rootin'-tootin' opening theme to BIG TROUBLE IN LITTLE CHINA.  (Unfortunately, this was a "John Carpenter Live Retrospective" and not a "Coupe de Villes Reunion Tour," and therefore we were denied the rockin' closing credits music, "Big Trouble in Little China." But I can live with that!)

Carpenter invited the audience to "ride the synth wave" with him, and followed with "Wraith," a melancholy track from LOST THEMES. Then he insisted "these songs so far have been uncharacteristically positive––let's go a little darker... into the 'Night.'" (The "Night" in question being the closing track from LOST THEMES, a gloomy cyberpunk meditation.)

Afterward, insisting that he had "a confession to make," Carpenter humorously admitted to being a horror director before proclaiming "horror movies will live forever!" The crowd roared as Cody began plunking out the HALLOWEEN "Main Theme" (in its distinctive 5/4 time signature). The orchestration that followed was more layered and complex than what originally appeared in 1978, and it was newly arranged for this lineup (though it bore a resemblance to the arrangement from HALLOWEEN II).

He followed this with the rockin' "Main Title" from IN THE MOUTH OF MADNESS, and Daniel Davies performed the extended guitar solo that his father originally played for the 1994 film. After this, the band left the stage––but you just know Carpy's gonna do an encore:

They returned with "Opening Titles" from PRINCE OF DARKNESS, one of Carpenter's darkest and voxiest tracks. This flowed into "Virtual Survivor," a moody piece from LOST THEMES II, which gave way to "Purgatory," a diptych from the original LOST THEMES that I once imagined was the theme song to the fictitious film, CAPTAIN RON VERSUS THE FOG. 

When they'd finished, Carpenter grew pensive, leaning toward the microphone. He said, "As you leave tonight, and go out into the darkness, be careful... 'Christine' is out there!" Two floodlights lit up opposite ends of the stage (approximating the headlights of a haunted Plymouth Fury), and the fourth and final encore was the lesser-known "Main Theme" from CHRISTINE (you may recall that the opening scene is actually set to George Thorogood's "Bad to the Bone").

In all, it was a wonderful experience––wonderful to see one of my heroes not merely yawning through a Q&A, but actually doing what he loves on a stage for a deeply appreciative audience; presenting fresh new material alongside his past classics. I've said it before, and I'll say it again: Carpy rocks!

–Sean Gill

Only now does it occur to me... INNERSPACE (1987)

Only now does it occur to me... that I would ever see character-acting legend and scene-stealing nutball Robert Picardo (TOTAL RECALL, THE WONDER YEARS) busting such savagely hip and creepy dance moves, and all in service of seducing America's Sweetheart, Meg Ryan!





Note: "The Invisible Lasso," an essential move in Picardo's dance arsenal.

I saw INNERSPACE on television as a child, and for whatever reason I did not remember much, beyond it being a comedic 1980s update of FANTASTIC VOYAGE wherein an experimental pilot (Dennis Quaid) is miniaturized and accidentally injected into the bloodstream of a hypochondriac (Martin Short).



Dennis Quaid embarks on his 'fantastic voyage' while eating a JELL-O pudding snack and doing some kind of Jack Nicholson/Harrison Ford pastiche.

Upon revisiting, I cannot emphasize enough how anarchic and bizarre a movie INNERSPACE is. Robert Picardo is just the tip of the iceberg––though I must admit that in his minor role as a silky-smooth international smuggler named "The Cowboy," he does his darnedest to steal the entire movie. Whether "Travis Bickling" with a blow dryer:

putting the moves on Meg Ryan:

 

wearing a Speedo and blasting a champagne cork at Martin Short:

or being kidnapped and impersonated by a rubberized (through science-fictioney means) Martin Short:



I guess I'm trying to tell you that it's a live action Looney Tunes episode, a relentless slice of sci-fi mayhem, and a work of good-natured batshittery. In other words, it's a Joe Dante film!

BEHOLD: A villainous henchman (Vernon Wells, "Bennett" from COMMANDO!) with more cyborg arm-appendage weapons than Chuck Connors in 99 AND 44/100% DEAD and "Doctor Claw" from INSPECTOR GADGET combined!


EXPERIENCE: Fiona Lewis (THE FURY, STRANGE INVADERS) as perhaps the most lascivious corporate scientist of all time!


ENJOY: Kevin McCarthy (INVASION OF THE BODY SNATCHERS) as a criminal mastermind with impeccable interior (and personal) design!


FIND CATHARSIS IN: Lewis and McCarthy shrunk to the size of children (or we could say "Good Guy Doll"-size) and handling absurdly-proportioned props!



GAZE UPON: 1980s New Wave nuttery and other optical illusions!


SEE: More terrifying rubbery faces than TOTAL RECALL!




WITNESS: A tearful Meg Ryan cab ride, made possible by none other than "That Guy" legend, Dick Miller!


LOOK AT: A Rance Howard cameo! Just look at it!

 
CONTEMPLATE: A world where Henry Gibson is your bitchy-but-well-meaning supermarket boss!


BE FACED WITH UNSETTLING MELANCHOLY: When the scientist who injects Martin Short (John Hora, Dante's cinematographer) is shot and killed at a mall by Vernon Wells' robo-assassin. As the life flows out of him, he is confronted with the startling image of mall mascots coming to his aid.


He fades and dies, scared and confused. This is probably a good example of what I mean when I say this film is anarchic––but it is emotionally grounded, unlike much of the contemporary absurdist comedy, where many jokes rely upon randomness or anti-humor for their effect. There is an order to this film––a cartoon-logic, if you will––but its anarchy supports the story (also see: PEE-WEE'S BIG ADVENTURE, GREMLINS 2: THE NEW BATCH, WILLY WONKA & THE CHOCOLATE FACTORY, et al.), and it's nothing if not well earned.

I feel as if I've barely scratched the surface of this strange beast. Now, go forth, and rent INNERSPACE!

––Sean Gill

Sean Gill's "A Litany for Tender Mercies and Tougher Meats" in Bryant Literary Review

I have a new short story called "A Litany for Tender Mercies and Tougher Meats," and may be found in the 2016 issue of Bryant Literary Review (Vol. 17), a literary journal published at Bryant University in Smithfield, Rhode Island. It will be available for purchase in print here.

Only now does it occur to me... MAGIC (1978)

Only now does it occur to me... that the following quote, in toto and free of context, should probably be on an inspirational poster:



"I have lived through Talullah Bankhead and the death of Vaudeville. I don't scare easy." 

Of course it helps that it's being recited by the inimitable Burgess Meredith to a young Anthony Hopkins, who at this moment is clutching a terrifying ventriloquist's dummy. Amen.

Only now does it occur to me... GLORY DAZE (1995)

Only now does it occur to me...  GLORY DAZE––who knew?  What I assumed was a Ben Affleck comedy in the vein of ENCINO MAN or BIO-DOME ended up being a quite thoughtful piece about the transition from college life to adulthood; it's a little more Baumbach's KICKING AND SCREAMING than ONE CRAZY SUMMER. Even more fascinating, this came from the mind of Rich Wilkes, the writer who most notably gave us AIRHEADS and xXx.


The story of a group of friends at a crossroads (Ben Affleck, Sam Rockwell, French Stewart, Vien Hong, and Vinnie DeRamus), GLORY DAZE may be cursed with an awful title, but it features many genuinely dramatic moments and a pervasive visual metaphor for post-college stasis: that of an errant dart tossed into a wall clock, obstructing the second hand, which ticks away uselessly. It's rather Gen-X and post-REALITY BITES in sensibility, but it always feels active and alive; its message is universal.

I also would go as far as to say that GLORY DAZE is second only to DAZED AND CONFUSED in terms of containing a Ben Affleck performance that does not actively annoy.

And with that haircut and goatee, that's saying a lot.

There are a lot of great bit parts, including Matthew McConaughey as "Rental Truck Guy," a crazed townie who may or may not be "Wooderson" from DAZED AND CONFUSED:

Right on, right on, right on...

Famed raconteur Spalding Gray (!) has a nice, nuanced bit as Affleck's dickish father:

RIP, Spalding––when the man was "on," he was on.

B-movie and Warhol legend Mary Woronov as the mother of Sam Rockwell's girlfriend during an awkward meet-and-greet at a graduation party:

I'm going to assume that her (unseen) husband is played by Paul Bartel.

John Rhys-Davies as a pompous professor (with a great deal of pathos) whose mentorship of French Stewart becomes a sympathetic look at how academia may not be for everyone:

Interesting to see Sallah caught up in the ivory tower––maybe Indiana Jones is rubbing off on him!

"Chenny" herself, Alyssa Milano, as a coed who doesn't really figure into the larger story; I think they just wanted a woman's face on the poster to disguise that this film is a full-on bro-fest (which is its only major weakness):

I could have done with a "Chenny goes to college" subplot where Schwarzenegger plays her overprotective father.

Cameos by Brendan Fraser and Leah Remini as a bus-riding couple who draw the ire of a depressed Ben (Sad)-fleck:

Maybe this movie has a little bit in common with ENCINO MAN.

And, finally, Matt Damon in a blink-and-you'll-miss-it appearance as a dimwitted bro named "Pudwhacker":

Is this the impetus for the mentally disabled Matt Damon joke in TEAM AMERICA?

In the end, I was pleasantly surprised by this one; and in closing I'll recommend two additional "college comedies" that carry more resonance and sincerity than the genre usually affords: Andrew Fleming's THREESOME, which is 90s to the max, but a brilliantly executed character drama; and Richard Linklater's EVERYBODY WANTS SOME!!, which was buried earlier this year as a lesser-stoner comedy, but is in fact an extraordinary, meaningful slice of life in the vein of BOYHOOD or DAZED AND CONFUSED.

Only now does it occur to me... THE CROW: WICKED PRAYER (2005)

Only now does it occur to me... hot, sweet hell––there exists a movie, cast with "professional" actors, some whom I personally adore, some Oscar-nominated (I'm looking at you, Dennis Hopper), and some who have starred on their own television series. And of them all, the most consistently solid performance might belong to... Tara Reid!

Seen here quoting Shakespeare...


...and making it her own.

She even gets to "Lady M" it for a spell:
 
Out, out damned spot

Holy cow, this thing is a mess. I'm christening it the first "Hot Topic Western." The general pace is like Oliver Stone had a seizure while directing a lesser FROM DUSK TILL DAWN sequel. The mise-en-scéne is like Rob Zombie's Satanic love child with the worst episodes of ANGEL. I swear it has more tangible connections to xXx than THE CROW, and it's supposed to be a sequel to THE CROW.

And that ANGEL reference isn't out of left field: this thing has David Boreanaz in full "Angelus" mode, wearing mesh shirts he must've stolen from Bruce Willis in THE FIFTH ELEMENT.

Like some BUFFY/ANGEL fans, I have a kind of love/hate relationship with David Boring-anz (as I occasionally refer to him). He's serviceable as the stoic, mostly emotionless Angel (and as the puppet version)––but when he goes into "psycho vamp" mode and becomes "Angelus," he's acting beyond the limits of his wheelhouse and can't quite pull it off. But I kind of like that, too, because there's certainly a kitsch value to it.

I like it in a slightly different sense than Tara Reid "likes" his offensive Native American headband, is what I'm saying.

Boreanaz is the film's villain, a.k.a "Luc Crash," a.k.a "Death," a.k.a. "Satan."

Here's the whole macabre outfit. Note: pleather pants and Satanic belt buckle.

Because he yearns to be Satan (and does, indeed, eventually become him), he has a biker gang named after the Four Horsemen of the Apocalypse that he exclusively feeds with "Devil"-themed food.

I obviously approve of this, wholeheartedly.

Elsewhere, we have Danny Trejo as a kind-hearted preacherman (this only adds to the lesser-DUSK TILL DAWN sequel vibe):

Danny Trejo––not playing a criminal for once!

Marcus Chong (a.k.a. "Tank" from THE MATRIX) as "War," one of Boreanaz's horse/henchmen,

who, dressed in a red jumpsuit and strapped with dynamite, really reminded me of those annoying, dynamite-slinging enemies from the legendary arcade game FINAL FIGHT:

Dennis Hopper as "El Niño," a Satanic High Priest who calls everybody "homey" for no discernible reason and has Macy Gray as one of his henchwomen:

And finally Edward Furlong as local loser "Jimmy Cuervo" who is transformed by death into the revenge-seeking "The Crow,"

whereupon he wields a baseball bat like a lightsaber

and delivers wicked but unconvincing one-liners such as:

Ohhhhh yeah.

This movie is so perfectly awkward, absurdly incomprehensible, and nigh unwatchable, that we require a bad comedy cliché as our exit strategy. Who will step forward and deliver said cliché?

There we go.  My feelings exactly, Boreanaz!