The best haunted car movie that has been produced. It has a simple yet effective story about a tragic young misfit and the evil entity of metal that preys on him. Good rock'n roll music add to the fun. John Carpenter give a competent directed film, but it would have been nice to see how and why the car preys on the driver and it is hard to take the concept itself very serious.
Although final act comes as a little slow when compared to the rest of the movie, it's still highly enjoyable piece that perfectly captures the spirit of late 70s with 50s nostalgia and it manages to surpass typical King flavor in a favor of something that looks and feels more like a Halloween spin-off. It's a movie about teenage angst just as it is about possessed car; and it's embellished by great r'n'r track list.
Carpenter came out swinging with this relentlessly fast, stylish, cool, ferociously profane, scary and funny King adaptation. Keith Gordon's verbal dust-up and jousting with Harry Dean Stanton in a parking lot is one of my favorite shit talking scenes ever. Carpenter's score for "Christine" is as memorable as John William's score for "Jaws." Carpenter's mean machine shows him working at the highest level of his art.
Hadn't watched this since I saw it on television a few times back in the mid '80s. It's not particularly scary or exciting, and parts of it border on camp today, but it *is* relentlessly dark and humorless throughout (more so even than The Thing), which in a way says something about how we prefer the company of 'things' over other people.
The 70's nostalgia for the 50's, an era of pure machoism, conservatism and consumption, was a pretty good preamble for the horrors of the 1980's. Christine is John Carpenter's response to Grease, with the transformation of the innocent nerd into the heartless kid becoming rightfully nightmarish. Man is not only consuming culture but also consumed by it, becoming a machine of its own.
After a trudging start setting up the myth, the film really comes into itself. The second half is where Carpenter's flare for composition, visual fx, colour and score really hit big. But - Christine isn't given enough chance to develop into a completely terrifying monster. It may have been better longer, with tension mustered in slower stretches of steadicam and synth crescendos, waiting for the lights to turn on.