And, as if to fulfill the quota for teen thrillers, some nudity makes its way into the picture.
Further tricks include only showing Myers from the neck down for as long as possible, to hide the now recognizable visage (infamously crafted from a cheap Captain Kirk mask); overly conveniently locked doors and obstacles to trip over; painfully near misses (the culprit driving out of sight right behind the doctor); verbal descriptions of grisly imagery; sudden, loud noises; and a crystal-gazing clip of Howard Hawks’ “The Thing” (which Carpenter would remake in a few years).
Curtis is to the current horror film glut what Christopher Lee was to the last one-or Boris Karloff was in the 1930s.
She was the star of "Halloween," she also starred in Carpenter's disappointing "The Fog" and the utterly inept "Prom Night," and now here she is again. The classic horror films of the 1930s appealed to the intelligence of its audiences, to their sense of humor and irony.
They found two: It featured attacks on young girls, and it had a lot of knives and blood in it.
These two exploitable elements have been in the forefront of the boom in horror movies during the last two years, and they are, of course, present in "Terror Train."But "Terror Train" is a curious hybrid that doesn't seem to know just what it wants to be.The opening scene is filmed through Myers’ mask, frequent over-the-shoulder angles are used, and peeking through windows and doors are routine perspectives.There are also plenty of first-person points of view, shots of Myers standing in the background behind unsuspecting characters, and people jumping into frame to scare their targets despite certainly being in full visibility of the actors.His doctor, Sam Loomis (Donald Pleasence, taking his role seriously but disbelievingly), knows that the deranged convict will journey back to his hometown for bloody revenge.So it’s not surprising when Laurie Strode (Jamie Lee Curtis, the daughter of Janet Leigh) is shadowed by a tan station wagon, and an eerie, white-faced, black-garbed stranger randomly appears in her yard, behind shrubs, and skulking around the neighborhood.But "Halloween," itself one of the year's best films, changed all that.After it racked up grosses of nearly million, producers began to comb through it, looking for ways to exploit its success.Somewhere on the train is a vicious killer with a knife. The use of the train itself is bizarre, for that matter; since the only places you can go on a moving train are forward and back, how can the killer pass undetected? The Ebert Club is our hand-picked selection of content for Ebert fans.Are his murders inspired by the unspeakable experience he had as a fraternity freshman? You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie."I think we will just about slip in before the market becomes too saturated." - Sandy Howard, co-producer of "Terror Train," in Variety, Oct. Sandy Howard is talking about the horror film market, which began its modern incarnation in November 1978, with the national release of John Carpenter's "Halloween." There had, of course, always been horror films, but, like all movie genre films, they came and went in cycles.In the years before "Halloween," they often shared a certain grisly sophistication, a macabre wit that was perfected in the Hammer horror films from England in the 1960s.