The Fog brings with it the souls of the dammed. Fog is nothing new to the quaint seaside village of Antonio Bay. But on the night of its 100th anniversary, a fogbank rolls in unlike any other. Eerie lights, dark figures, and the masts of an ancient schooner appear in the swirling mists, and soon the specters of long-murdered sailors descend upon the town. Using knife, hook and sword, they exact revenge for sins committed by the town’s founding fathers, leaving horrified survivors struggling to solve a hundred-year crime. And they must solve it – or die. Starring Adrienne Barbeau, Jamie Lee Curtis, John Houseman, Janet Leigh and Hal Holbrook. John Carpenter’s The Fog is classic horror at its terrifying best. —MGM
John Howard Carpenter (born January 16, 1948) is an American film director, screenwriter, producer, editor, composer, and occasional actor. Although Carpenter has worked in numerous film genres, his name is most commonly associated with horror and science fiction.
Carpenter was born in Carthage, New York, the son of Milton Jean (née Carter) and Howard Ralph Carpenter, a music professor. He and his family moved to Bowling Green, Kentucky in 1953. He was captivated by movies from an early age, particularly the westerns of Howard Hawks and John Ford, as well as 1950s low budget horror and science fiction films, such as Forbidden Planet and The Thing from Another World and began filming horror shorts on 8 mm film even before entering high school. He briefly attended Western Kentucky University where his father chaired the music department, but transferred to the University of Southern California’s School of Cinematic Arts in 1968 and graduated in 1971.
At USC Cinema, one of… read more
"A chunk of driftwood secretes blood rather than salt water, Curtis shivers in the foreground as a waterlogged ghoul shifts under the sheets on the morgue slab behind her, avenging phantoms break through stained-glass windows -- all of it done with Val Lewtonesque elegance, each frisson set up spatially with consummate calm. Barbeau takes to the airwaves to warn listeners to "look across the water... into the darkness," but Carpenter knows that darkness (engulfing, moral, political) emanates from within, or as Poe's "dreams within dreams."" -Fernando Croce
Semplicissimo eppure girato con enorme classe dal Maestro Carpenter. La storia è bella e sopratutto la tensione è sempre alle stelle, grazie anche all'ottima trovata della stazione radio. La critica alla chiesa cristiana, fondata sul sangue e il sacrificio degli innocenti, è palese e spietata. Una storia di fantasmi classica e perfetta.
Carpenteriano fino al midollo.Una fantastica fotografia notturna rende inquietante la tranquilla pace di una piccola comunità al cospetto del suo passato che si ripresenta per saldare i conti.La nebbia che avanza inesorabile è un grandioso effetto che crea tensione e pathos fino al grande"doppio" finale.Bene mischiato al male,attacco all "istituzione",sangue che chiama sangue: Carpenter è sempre lui e gira da Dio.
Total waste of film. Zero atmosphere. Literally 90 minutes of forgettable, paper thin characters frantically running from a smoke machine. Fulci and other supposed Euro-horror 'hacks' have done this zombie ghost shit so much better, very surprised at its status as a 'classic'.
Wow... That was just a tad itty little teeny tiny itsy bit EXTREMELY, COMPLETELY, INCONCEIVABLY, UNJUSTLY, and UNPREDICTABLY harsh. Just a scoatch. Fulci's work certainly had its' moments but, the guy couldn't craft one great whole piece of horror to save his life. If anyone is responsible for taking attention (or - undue - credit) away from Fulci, I really don't think it was The Fog. Frankly, it's when films like Haute Tension are prefered over Fulci that I become an activist on his behalf. Only then. When it makes sense. Hell, even the overload of Witchery's, Killing Bird's, Hitcher in the Dark's, and Fulci's own back (read: toilet) catalog (Cat in the Brain, House of Clocks, Voices from Beyond, Demonia, ETC) - as well as Umberto Lenzi and, yep I'm gonna say it: pre-'94 Michele Soavi - destroyed horror fans' ability to take Euro-horror seriously. I'll agree Fulci was an artist. Who was always seriously on-something. So, some moments in his films turn out beautiful and the rest as schlock. And, I'm being extremely, completely, and unjustly nice when I say "schlock." And, I'm refering to his "better" bad work. Should Fucli really get credit over one of Carpenter's few masterful horror films (yeah, I said it Carpenter fans) for essentially not fucking everything on a production up? The moments that work best in The Beyond, City of the Living Dead, and House by the Cemetery I wouldn't even give him credit for. The real geniuses were the guys in the music mixing booths or physically holding the camera.
tl; dr to be honest but i understand what your saying but look I LOVE John Carpenter, Assault on Precinct 13 and The Thing are fucking masterpieces but even HE didn't care much for the Fog. Fulci has nothing to do with it but I brought him up because while he may be a mess of a director, it adds an otherworldly, chaotic appeal which you need for a film like this. The Fog just made me feel totally LIMP, just my opinion mannn
Well, you have to admit your comment kinda made it look like you had a grudge. Or you thought it was some great disserve to cinema that The Fog was held in such high regard while Euro-horror wasn't. Now, that would be a real shame if guys like Joe D'Amato and Deodato weren't the ultimate posterboys for the vast majority of what came from Italy. (Again: the music *is* the movie for those 2 knuckleheads.)
The Fog isn't considered a horror classic though. it's not part of the canon. It's a minor classic at best. That's how it is viewed. It's all about the atmosphere to me. I agree the characters were paper thin, but so were the ones in Halloween for the most part. The script could have used some work though.