The misadventures of a deep space wrecking crew. Charged with an endless mission to destroy unstable planets—and long since worn down by routine, isolation, faulty equipment, and each other—they’re slowly pushed to the edge in this offbeat, low-budget response to 2001.
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An auspicious debut for Carpenter, showing space not as the final frontier explored by brave heroes, but as just another setting for mundane, mind-numbing working-class hell. Very primitive, even boring as far as technique goes, and it feels like a 40-minute idea stretched against its will to qualify as a feature. But it has a distinct personality and point of view. For a director starting out, that's enough.
Doolittle: But how do you know you exist?
Bomb #20: It is intuitively obvious.
Doolittle: Intuition is no proof. What concrete evidence do you have that you exist?
Bomb #20: Hmmmm... well... I think, therefore I am.
Doolittle: That's good. That's very good. But how do you know that anything else exists?
Bomb #20: My sensory apparatus reveals it to me. This is fun.
Fun but too puerile. Obviously the "2001" ironic revision - the talk about phenomenology with the computer, which clearly exposes the mentioned movie's presumption - and the surfing towards death, are moments of great imagination but, in general, has become a film that, though indicative of some of Carpenter's later paths, "aged" badly.
Interesting and offbeat early effort from Carpenter. The bargain-basement special effects and production values somehow only add to its scrappy charms and loopy atmosphere. But working against it is a slow pace and a number of sequences that drag on too long. Maybe not quite consistent enough to be a cult classic, but a fun little movie.
Benson, Arizona, blew warm wind through your hair
My body flies the galaxy, my heart longs to be there
Benson, Arizona, the same stars in the sky
But they seemed so much kinder when we watched them, you and I
Carpenter firma il suo esordio con un lavoro a bassissimo costo,interessante nel parodiare la tanto decantata audacia yankee e pungente nello scagliarsi contro la corsa agli armamenti.Gli intermezzi country sono davvero gradevoli, così come i surreali dialoghi tra uomini e bombe. Mezzi molto grezzi,ma Carpenter comincia a mostrare il suo talento e la sua predisposizione a trattare temi di una certa rilevanza.3*
Just like Sam Raimi did a few years later with 'Evil Dead', Carpenter started his filmmaking with very few resources, yet a lot of wit and creativity. I wouldn't call 'Dark Star' his most impressive work, but definitely one of the high points of his career. What he did with so little really blew me away. Carpenter fans and sympathizers can't miss this.