Jürgen Prochnow Das Boot, Dune plays Sutter Cane, a Stephen King-esque novelist with Lovecraftian overtones. In the Mouth of Madness will reward multiple viewings. One of the recurrent themes that the movie posits is whether reality is a fixed state, or if we actively create our own reality. His latest, as-yet-unpublished opus has already provoked widespread chaos in the streets. Kane views himself as a prophet of sorts, chronicling the machinations of otherworldly evil forces, who threaten to take over the Earth.
With the disappearance of hack horror writer Sutter Cane, all Hell is breaking loose. Even the audience can't trust reality when the protagonist keeps slipping in and out of consciousness. A perfectly acceptable waste of time. This theme returns again and again, not just in the main plot where the book's ideas rewrite people's psyches, but in small details like Neill's inability to smoke in the presence of others, a symbol for changing social mores. Beyond the chuckles and the frights, is the existentialist horror that comes when you realize reality is manufactured, that if enough people believe an idea, it becomes true.
John Carpenter's In the Mouth of Madness seems of a piece with They Live. He recounts the events that led to the disintegration of his mental state to a visiting doctor David Warner , and we soon learn about what drove him to lose his grip with reality. The film has the perfect nightmarish quality to achieve these effects, but at the same time, that arch comedic tone found in other Carpenter movies. When does fiction end and reality begin? The fact that this town exists as a figment of Cane's twisted imagination is only the beginning of Trent's problems. Sam Neill plays John Trent, an insurance investigator with a reputation for being able to sniff out fraudulent claims with ease. We first see Trent committed to an insane asylum, the sort of stereotypical institution that only seems to exist in movies -- a dank, gothic setting, populated by lost souls.
Author Cane, it seems, has a knack for description that really brings his evil creepy-crawlies to life. Carpenter, I usually think of his output from the 70s through the 80s, when it seemed that he could practically do no wrong. At best, In the Mouth of Madness is more of a thematic continuation, rather than a conclusion to a saga. In the Mouth of Madness takes a dim perspective of fandom in general, with its portrayal of horror fans as a mindless, soulless horde that feeds on the output of the writer, drooling over the literary scraps that are thrown their way. It forces you to question your own sanity and reality to the point where your reaction to this will reveal alot about the type of person you are.
Plus this has Vigo the Carpathian and young adult Anakin Skywalker. When I think of the films of Mr. What more can you want! A few flaws here and there, but a solid effort nonetheless. The Lovecraftian title is no accident. Insurance investigator John Trent is sent to investigate Cane's mysterious vanishing act and ends up in the sleepy little East Coast town of Hobb's End.
You should consider watching paint dry before viewing this. This is the most meta-horror movie I've ever seen that doesn't wink at the audience. In the 90s, Carpenter experienced a bit of a creative slump, when the bulk of his output seemed to be carried aloft by his name alone. His books create an unquenchable mania amongst his rabid fan base, resulting in a wake of riots, violence and destruction in book stores across the country. The third act seems rushed and muddled, cobbled together from parts of other Carpenter films. . As Trent gradually changes from a passive observer to an active participant in the strange events that take place, we are left to wonder how things are intertwined.
In the film, an insurance investigator Sam Neill tracks a horror novelist whose books are making people go insane. Not without its relative merits, but decidedly mediocre. . . . . .
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