John Carpenter’s The Thing . The picture still works like gangbusters — the best monsters are still the gooey, rubbery pre- CGI kind. John Carpenter’s The Thing. Collector’s Edition Blu- ray. Scream Factory. 19. Color / 2: 3. 5 widescreen / 1. Carter, David Clennon, Keith David, Richard Dysart, Charles Hallahan, Peter Maloney, Richard Masur, Donald Moffat, Joel Polis. Cinematography Dean Cundey. Production Design John J. Lloyd. Special Makeup Effects Rob Bottin. Film Editor Todd Ramsay. Original Music Ennio Morricone. Written by Bill Lancaster from the short story “Who Goes There?”by John W. Campbell Jr. Produced by David Foster, Lawrence Turman. Directed by John Carpenter. Reviewed by Glenn Erickson. It’s been eight years since the last Blu- ray special edition of John Carpenter’s The Thing, and it’s taken Scream Factory to do the job right. A DVD in 2. 00. 3 had plenty of nice features, but a 2. Universal Blu dropped almost everything. This new two- disc edition is an authorized remaster that includes seemingly every extra conceivable: those from the film’s release, earlier DVD goodies, and a fat crop of new offerings. The Thing may be John Carpenter’s most accomplished thriller. The Thing winds down to a. Has John Carpenter Explained The Thing's Ambiguous. A Huge Secret About John Carpenter's The Thing May Have Just Been. Release Date: June 25th, 1982. Follow the movie on Facebook. By the middle 1. 96. Howard Hawks’ original The Thing from Another World had become a television staple for adolescent monster fans, as revered as Frankenstein or King Kong, two other titles that seemed to play in constant rotation in the Creature Feature movie slots. One of its biggest fans was young John Carpenter, who would base his career on Hawks’ style of filmmaking. Assault on Precinct 1. Hawks’ Rio Bravo; Carpenter puts clips from Hawks’ The Thing on Jamie Lee Curtis’ television set in his breakout picture Halloween. The mega- success of Halloween gave Carpenter the freedom to tackle his pet personal project, a remake to be called simply The Thing. Enthusiasts of literary science fiction had initially despaired at Hawks’ discarding the brilliant idea from the original short story in favor of a fairly generic Frankenstein’s Monster from outer space. Campbell, Jr.’s Who Goes There? It finds no difficulty infiltrating the ranks of an isolated group of men in a lonely arctic outpost. The renewed interest in John Carpenter's music thanks to the Death Waltz reissues and Lost Themes albums lead him to. 13 Fascinating Facts About . Here are 13 things you might not know about the 1982 cult classic. John Carpenter's The Thing. The genuinely scary story is a paranoid nightmare. One can’t be sure if one’s best friend is not really an alien pretender, quietly waiting for the right moment to attack. Backed by Universal, Carpenter returned to Campbell Jr.’s original premise, using the latest techniques to show The Thing ingesting its victims and performing gruesome, disturbing transformations. Young makeup effects expert Rob Bottin supervised the gooey metamorphoses, which when combined with clever pre- CGI camera tricks produce some of the most effective gross- outs ever filmed. A sled dog’s muzzle splits open like a peeled orange to disgorge a flower that spits toxic matter. A man’s chest becomes a set of jaws that chew off another man’s arms. When threatened, the head of an . Variety’s review suggested that for this film, the William Castle gag of having nurses in attendance at screenings might actually be a good idea. As a series of exciting scares Carpenter’s show has few equals. He sets up the conflict with a minimum of fuss and uses telling bits of action instead of expositional dialogue to sketch his interesting characters. The researchers and staffers at an Antarctic science station are quickly differentiated. Longhaired helicopter pilot Mac. Ready (Kurt Russell) is a loner, yet becomes a de facto leader. Wilford Brimley) is the first to detect the grave threat to the camp. Palmer (David Clennon) is a pothead helicopter mechanic and a chronic whiner. Childs (Keith David) is a mean man with a flamethrower but prone to emotional outbursts. Copper (Richard Dysart) examines the remains of various Thing- creatures killed in the process of transformation; he’s the first to formulate a test to determine which of his colleagues might really be Things in disguise. Clark (Richard Masur) takes care of the sled dogs and tends to be withdrawn and low- key. Garry (Donald Moffat) is the dependable but unimaginative head of security. Both film versions center on a group of men under siege by a mysterious and deadly foe. In the original the military men and the scientists establish a group solidarity, and prevail through cooperation. Screenwriter Bill Lancaster’s remake has a less optimistic view, partly because Carpenter’s male group is a loose coalition of nonconformists and partly because the nature of this Thing makes group solidarity impossible. Anybody can be “the monster”; nobody can be trusted. On a scene- by- scene level Carpenter’s mastery cannot be denied. Every monster attack is a jolting surprise. John Carpenter’s 1982 Masterpiece, The Thing: A Retrospective. Source: Movieposters.com. John Carpenter, one of the greatest horror filmmakers of all time, is. John Carpenter’s The Thing (1982) Commentators: John Carpenter. Could this be the official ending to John Carpenter's The Thing? John Carpenter's 1982 sci-fi/horror remake The Thing is not only one of the greatest horror. Revisit John Carpenter’s Unlike the characters in a thousand haunted house movies, nobody behaves entirely stupidly. Mac. Ready makes good snap decisions, not hesitating to kill when necessary. We appreciate the commonsense approach when Mac. Ready first hears the howling dogs. In a movie like Ridley Scott’s Alien fearful characters choose to go wandering alone, and are invariably attacked in the dark. Mac. Ready instead plays it smart and hits a fire alarm. The whole camp is alerted. Kurt Russell's iconic and tense performance drives this chilling version of the classic The Thing. In the winter of 1982. John Carpenter's The Thing. The Thing (1982) – John Carpenter – Movie Review. The Thing (1982) Directed by: John. I consider it an injustice that John Carpenter’s The Thing was. As in his Halloween Carpenter makes excellent use of the Panavision canvas, showing himself a master of extreme widescreen composition. He also directs action for maximum excitement. His main failing has always been scripting, and in The Thing contains a number of frustrating story decisions. The first problem is the lack of understanding about what The Thing can and cannot do. The exact sequence of Whom is taken over When is so unclear that our desire to understand what’s happening dies for lack of information. Some of the film’s suspense exits along with it. It’s been reported that Carpenter undertook some reshoots to give the audience what little expositional information is there, which indicates that he initially didn’t think we needed to understand what was going on. The identity test is the film’s most original scene, and the most frustrating. Observing that any bit of The Thing can function as an individual creature, Dr. Copper proposes that every Thing Cell is capable of acting independently. Mac. Ready puts blood samples from all the surviving researchers in separate Petrie dishes, and burns each with a hot wire. If any of the blood is really . What happens next is just too good to spoil. The problem is that the test . They can finally be certain that none of their number is infected, but instead of staying together to fend off the one or two men still untested, they split up to search the camp. The existential standoff at the fadeout is a tough- guy pose that rings false, with . We wonder why nobody has taken a single photograph as evidence of the menace, or why notes haven’t been written warning relief missions not to thaw out anything organic. The audience doesn’t want good men like Mac. Ready to just give up like this. Carpenter and Lancaster resurrect heroic film formulas, only to revert to . The acting is uniformly excellent. Carpenter usually avoids multi- character dialogue scenes but in this film pulls off several beauts. Kurt Russell’s understated performance turns Mac. Ready into a dependable hero. Charles Hallahan’s Norris looks for an authority figure to follow. David Clennon’s Palmer is sarcastic and Richard Masur’s Clark sullen and defensive. Richard Dysart, Donald Moffat and Keith David trade accusations when the outpost’s blood supply is sabotaged. The hipster radio operator Windows (Thomas Waites) quietly freaks out behind his dark glasses. And Wilford Brimley’s eyes glaze over when his first assessment of the problem establishes that the alien enemy has more likely than not already won the battle. John Carpenter’s sci- fi horror show was a theatrical underperformer. When The Thing hit the screens the welcome mat for gory monsters had already been withdrawn. Just a week or two before its premiere, Universal also released the sugary E. The Extraterrestrial, which captured the country’s heart. Universal tacked on a scary teaser trailer for The Thing. With the audience jammed with little kids, several irate mothers stomped out to the lobby to complain! At the time, John Carpenter was frequently compared to John Landis (An American Werewolf in London) and especially David Cronenberg, whose films highlighted Thing– like bodily tumors, mutations and other incitements to squeamishness. Cronenberg’s flights of intellectual weirdness were fascinating but at that time even his remarkable Videodrome had difficulty cohering as a satisfying narrative. Not until his gruesome, transgressive remake of The Fly would Cronenberg truly come into his own. Both filmmakers revisit ’5. Sci- fi classics but Carpenter gets bogged down in thriller mechanics. Cronenberg re- imagines his remake from the inside out (literally) and transcends the original. Scream Factory’s Collector’s Edition Blu- ray upgrade maximizes the impact of John Carpenter’s overachieving creature feature The Thing. The company lists a new 2. K scan, supervised and approved by director of photography Dean Cundey. The film has a vivid setting, with breathtaking Canadian and Alaskan scenery. The elaborate sets for the research station still impress; the all- organic, filmed- with- a- camera special effects have remained outrageous show stoppers. Only an icy matte painting or two seem to suffer, and look a little flat. A 5. 1 audio mix is included, along with a new 4. Ennio Morricone’s score lays minimalist rhythms over the titles and credits that often sound identical to Carpenter’s own film scores, but he also adds tense strings to heighten the mood of several scenes. The long list of extras below show that Scream Factory has really gone to town on this Collector’s Edition — disc producer Cliff Mac. Millan has gathered every docu and extra put together in the past and unearthed more key original bits of film and video — some of it including footage not seen in the completed film. Most appear on the second disc, also a Blu- ray.
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Missing Classmates If you know where these Schoolmates are please share our web address with them: http:// If you know the email address for any. One of Spain's best-recognized artistic personalities, Jordi Moll.BIOGRAPHY/BIBLIOGRAPHY . Guggenheim Museum, New York. Statens Museum for Kunst, Copenhagen. Stedelijke Museum, Eindhoven. The Art Institute of Chicago. Van Abbe Museum, Eindhoven. Walker Art Center, Cincinnati. Whitney Museum of American Art, New York. ONE- ARTIST EXHIBITIONS2. Mike Kelley: Exploded Fortress of Solitude,” Gagosian Gallery, London, United Kingdom.“Mike Kelley: Kandors,” Museen Haus Lange. Haus Esters, Kunstmuseen Krefeld, Krefeld, Germany.“Mike Kelley: Kandor 1. Extracurricular Activity Projective Reconstruction #3. Kandor 1. 2 / Extracurricular Activity Projective Reconstruction #3. Gagosian. Gallery, Beverly Hills, California. Mike Kelley: Arenas,” Skarstedt Gallery, New York, New York.“Mike Kelley,” Schinkel Pavillon, Berlin, Germany. Horizontal Tracking Shots,” Gagosian Gallery, New York, New York. Travel to: FRAC Poitou- Charentes, Angouleme, France (2. In conjunction with the exhibition “I rip you, You rip me: honey, we’re going down in history.”“Destroy All Monsters Archive” (with Jim Shaw and Carey Loren), Museum Boijmans Van Beuningen, Rotterdam, The Netherlands. Dissertations & Theses from 2016. Aalipur Hafshejani, Behzad (2016) A new test for the mean vector in high dimensional setting. Abdoh, Hussein Ali Ahmad (2016. Praying with the Saints for the Holy Souls in Purgatory. Susan Tassone shares how the saints pray for the Holy Souls. 1/1/1986 168300 60517. 8/1/1984 2173100 19082. 1/1/1986 664000 53211. 1/1/1986 2135800 7901. Stats and results for players, teams, leaders and scores from the first game ever to yesterday. FC Aarau was formed on by workers from a local brewery. The early days of the club were a success and they won the Swiss championship in 1911/12. In conjunction with the exhibition “I rip you, You rip me: honey, we’re going down in history.”1. Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile,” Wako Works of Art, Tokyo, Japan.“Mike Kelley,” Museu d’Art Contemporani de Barcelona; Rooseum Center for Contemporary Art , Malm. New York.“Mike Kelley: Recent Work,” Susanne Hilberry Gallery, Birmingham, Michigan.“Mike Kelley,” Galerie Ghislaine Hussenot, Paris, France.“Paul Mc. Carthy/Mike Kelley,” Kunstverein, Hamburg, Germany.“Flags and Video Heidi,” Galerie Andreas Binder, Munich, Germany. Rosamund Felsen Gallery, Los Angeles, California.“New Photographs,” Metro Pictures, New York, New York. Mike Kelley: Catholic Tastes,” Whitney Museum of American Art, New York; Los Angeles County Museum of Art, Los Angeles, California (1. Haus der Kunst, Munich, Germany (1. Two- artist exhibition with Chris Burden.“Half a Man,” Rosamund Felsen Gallery, Los Angeles, California. Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile,” Rosamund Felsen Gallery, Los Angeles, California.“Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile,” Metro Pictures, New York, New York. The Sublime,” Metro Pictures, New York, New York.“The Sublime,” Rosamund Felsen Gallery, Los Angeles, California. Monkey Island,” Rosamund Felsen Gallery, Los Angeles, California.“The Sublime,” Hallwalls, Buffalo, New York. Monkey Island” and “Confusion,” Metro Pictures, New York, New York. Meditation on a Can of Vernors,” Riko Mizuno Gallery, Los Angeles, California. The Poltergeist: A Work Between David Askevold and Mike Kelley,” Foundation for Art Resources, Los Angeles, California. GROUP EXHIBITIONS2. This Will Have Been: Art, Love, & Politics in the 1. Museum of Contemporary Art, Chicago. Travel to: Walker Art Center, Minneapolis; Institute of Contemporary Art (ICA), Boston. Museum der W. Travel to: Contemporary Arts Museum, Houston; Montclair Art Museum, Houston; Ackland Art Museum at the University of North Carolina, Chapel Hill. Exh cat.“Let the Healing Begin,” Institute of Modern Art, Brisbane, Australia.“Heinz and Marianne Ebers Foundation: A Collection with Stature,” Museum Haus Lange, Kunstmuseen Krefeld, Krefeld, Germany. Contemporary art works from Consolandi’s Collection,” MAGA Museo Arte Gallarate, Varese, Italy.“Ordinary Madness,” Carnegie Museum of Art, Pittsburgh, Pennsylvania.“Frances Stark Selects from the Grunwald Collection,” Hammer Museum, Los Angeles.“Pop Life – Warhol, Harin, Koons, Hirst. Nader Ahriman bis Chen Zhen,” Galerie Krinzinger, Vienna, Austria.“Permanent Trouble: Aktuelle kunst aus der Sammlung Kopp,” KOG Kunstforum Ostdeutsche Galerie, Regensburg.“Skin Fruit: Selections from the Dakis Joannou Collection,” New Museum of Contemporary Art, New York, New York.“Take me to your Leader! The Great Escape Into Space,” The Museum of Contemporary Art / Museet for samtidskunst, Oslo, Norway.“Aires de jeau: la Police ou est les corsairs,” Centre d’art contemporain de Quimper, le Quartier, Quimper, France.“Collecting Biennials,” Whitney Museum of American Art, New York, New York.“Collection of Prints and Drawings – Photographs,” Statens Museum for kunst, Copenhagen, Denmark.“Dreamlands / Galerie 1, Niveau 6,” Centre Pompidou, Paris, France. Exh cat.“Works on Paper from the MCA Collection, Muceum of Contemporary Art, Chicago, Illinois.“The Mystics Circle,” Human Resources, Los Angeles, California.“Move: Choreographing You,” Hayward Gallery, London, England. Travel to: K2. 0 Kunstsammlung Nordrhein- Westfalen, D. Travel to: Contemporary Arts Museum, Houston.“La planete des signes (Erudition concrete 1),” FRAC Ile- de- France Le Plateau, Paris, France.“Major Works of Paper,” Patrick Painter, Inc., Santa Monica, California.“Estatic Abbstraction,” Gagosian Gallery, West 2. Street, New York, New York.“Emotional Community,” Monitor, Rome, Italy.“Land,” Collaborative Exhibition, 1. Exhibit, Miami, Florida.“Mike Kelley, David La. Chapelle, Sherrie Levine, Andres Slominski, Haim Steinbach,” Jablonka Galerie, Cologne, Germany.“Pop Life: Art in a Material World,” Tate Modern, England. Travel to: National Gallery of Canada, Mus. Sculpture Center, Long Island, New York. Travel to: West of Rome, Los Angeles, California.“SONIC YOUTH etc.: Sensational Fix,” Malm. Travel to: CA2. M Centro de Arte Dos de Mayo, M. Exh cat.“Passioniert Provokativ Die Sammlung Stoffel,” Pinakothek der Modern, Munich, Germany. Peanut, Haim Steinbach on Mike Kelley,” Overduin and Kite, Los Angeles, California.“Sonic Youth etc. Sensational Fix,” Museion, Museum f. An exhibition of comtemporary drawings,” Irish Museum of Modern Art, IMMA, Dublin, Ireland.“Fair Market,” Rental Gallery, New York, New York.“Painting Now and Forever, Part II,” Matthew Marks Gallery and Greene Naftali Gallery, New York, New York.“Ready Made,” Yvon Lambert, Paris, France.“Hotel California,” Galerie Georges- Philippe & athalie Vallois, Paris.“Won’t Grow Up,” Cheim & Read, New York, New York.“In the Land of Retinal Delights: The Juxtapoz Factor,” Laguna Art Museum, Laguna Beach, California.“Pr. Travel to: Sammlung Falckenberg Hamburg, Germany.“Sympathy for the Devil: Art of Rock and Roll Since 1. Museum of Contemporary Art, North Miami (MOCA), Miami, Florida.“Peripheral Vision and Collectve Body,” MUSEION Museum f. Travel to: Palazzo Ducale, Genoa, Italy.“Prefab,” Gagosian Gallery, New York, New York.“Wako Works of Art: 1. Years / Part IV,” Wako Works of Art, Tokyo, Japan.“California Video,” The Getty Center, Los Angeles, California. Travel to: Huntington Museum of Art, Huntington, West Virginia; Museum London, London, Ontario; Huntington Museum of Art, Huntington, West Virginia; Rodman Hall Arts Center, St. Catharines, Ontario; Paul and Lulu Hilliard University Art Museum, Lafayette, Louisiana; Joel and Lila Harnett Museum of Art, University of Richmond Museums, Richmond, Virginia. Travel to: Tate, Liverpool, England. Travel to: Santa Monica Museum of Art, Santa Monica, California; The Contemporary Museum, Honolulu, Hawaii; The Contemporary Arts Museum, Houston, Texas; Frye Art Museum, Seattle, Washington. Desire (Part 1),” Galerie Dennis Kimmerich, Dusseldorf.“Alone in the Jungle,” Mandarin Gallery, Los Angeles, California.“Into Me, Out of Me,” MACRO Future, Rome, Italy.“Quotidian,” BUIA Gallery, New York, New York.“Sound Art Limo, NY,” Armory International Art Fair (Piers), New York, New York.“Poetics Country,” Ferenbalm- Gurbr. Exh cat.“Works in Ceramic,” Gladstone Gallery, New York, New York.“Kunst Aus Los Angeles der 6. Jahre,” Kunstverein Braunschweig, Braunschweig, Germany. Exh cat.“A Theater Without Theater,” Museu d’Art Contemporani de Barcelona, Barcelona, Spain.“Radio Daniele” (sound art projects radio program), Bologna, Italy; Kunsthalle Zurich, Zurich, Switzerland.“Sympathy for the Devil,” Museum of Contemporary Art, Chicago, Illinois.“Evidence of Movement (featuring Close Radio Podcast),” The Getty Center, Los Angeles, California.“Sounding the Subject: Selections from the Pamela and Richard Kramlich Collection and the New Art Trust–Video Trajectories,” MIT List Visual Arts Center, Cambridge, Massachusetts. Matthys Collection,” Museum Dhondt- Dhaenens, Deurie, Belgium.“Collateral: When Art Looks Like Cinema,” Hangar Bicocca, Milan, Italy.“REALLIFE 1. Artists Space, New York City, New York.“Link,” Mitterrand+Cramer/Fine Art/Geneve, Geneva, Switzerland. Modern and Contemporary Master Drawings,” Connaught Brown Gallery, London, England. Deutsche Gugenheim, Berlin, Germany. Travel to: Hara Museum,Tokyo, Japan; Singapore Art Museum, Singapore.“Works on Paper,” Patrick Painter Inc West Gallery, Santa Monica, California.“Where Are We Going?: Selections from the Fran. Artists from the Rubell Family Collection,” Rubell Family Collection, Miami, Florida.“Full House: Views of the Whitney’s Collection at 7. Whitney Museum of American Art, New York, New York.“Into Me/Out of Me,” P. S. 1 Contemporary Art Center, Long Island City, New York. Travel to: KW Institute for Contemporary Art, Berlin; MACRO Museo d’Arte Contemporanea di Roma, Rome.“Faire des choses avec des mots / Making words with things,” CRAC Centre R. Georgen, Germany.“Sound & Vision,” Museo della Citt. Art Scene,” Centre Georges Pompidou, Paris, France. Kunst und Spiel seit Dada,” Kunstmuseum Liechtenstein, Vaduz.“Spielr. Stoned 2,” General Store of Milwaukee and Gavin Brown’s Enterprise, New York, New York.“Trials and Terrors,” Museum of Contemporary Art, Chicago, Illionois. Summer Group Show, Skarstedt Fine Art, New York, New York.“The Blake Byrne Collection,” Museum of Contemporary Art, Los Angeles, California. Travel to: California College of Arts, Wattis Institute, San Francisco, California; Mc. |
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