Hooptober... And Then There Were Nine

6th Kill

Much like The Thing, John Carpenter's Ghosts of Mars was a commercial and critical flop on release, but over the years, the searing genius of its conception, execution and themes guarantees it will live long in the hearts of cinephiles as a true classic of imaginative film-making.

Only joking, it's actually quite shit - not at all JC firing on all cylinders. In fact, given some of the lack-lustre set pieces and haphazard editing, one can't help but think his heart wasn't fully in it. HOWEVER, bear with me on this: I really do think this movie still has a lot to recommend it and I found it a genuine hoot on this rewatch.

The thing is, most of the glaring issues of the film are not necessarily such a big issue for a pulpy, lurid, tongue-in-cheek (yes, despite its dead serious mien, I am totally convinced Carpenter was nowhere near as serious in his intent) genre actioner like this. But there is one major issue in this movie which I think sours it quite badly. The good news is, once you become aware of it, you can look past it.

Much as I hate to single one person out (and I mustn't hate it that much because I'm clearly going to do it regardless), casting Natasha Henstridge was a terrible mistake. I hasten to add, it's not because she's that bad an actor (although she's not great). She's just entirely the wrong fit for the role. In no imaginable way can this actor embody the fundamental presence required of Lt. Melanie Ballard. She's too buttoned down, too pristine. This required an actress who could assay just a hint of that RJ MacReady vibe - something a little more world-weary and street-wise. Henstridge looks perpetually like she has just walked straight out of make-up and hair - and this is accentuated by her wooden delivery. She delivers every line in this film with the same pitch - be it on the train at the beginning before the shit hits the fan or in the depths of the dire danger they are later fighting their way out of. Look, a movie like this doesn't require a great lead performance - to be perfectly honest, Ice Cube is no less wooden in his line delivery than she is. But he fits the role better - he's naturally more believable so you can go with it anyway. But she has just been terribly miscast, and this movie really requires you to be with her character all the way through.

The ill-fit of the lead performance cheapens everything around her - and this production is cheap enough without having to surmount a further obstacle. The fact is, for all the paucity of resources at their disposal, the sets are actually pretty nice, and Gary Kibbe lights and shoots them beautifully (if you think this guy can't light a dark environment, take another look at the crypt in Prince of Darkness to refresh your memory). The model work isn't too stellar, truth be told, but I have a weird appreciation for stuff like that, even when it looks fake. I think poor casting in a film works on the audience subliminally, so that you know something isn't right but it's hard to put your finger on it. I think that situation sours what should basically be a minor but fun entry in John Carpenter's body of work.

Look, we all know this is basically another remake of Rio Bravo - when Carpenter was losing the energy to keep coming up with creative solutions while the Hollywood studios kept him in his little box on the margins of commercial film-making, he went back to his old standards. And so this is effectively a remake of Assault on Precinct 13 as well. Apart from the setting, the major difference is that there is an explanation given for why a horde of heavies is trying to kill all our characters - this rationale was left largely under-developed in Assault on Precinct 13 and, as is so often the case, less was more.

But guys, this is tough guys with guns and stuff running around in a sci-fi playground with nasty baddies coming after them. All flaws aside, what's really not to love here? Especially if you have a love for exploitation films in general, this movie still has more refined craftsmanship and film-making talent than so many movies we would unabashedly declare our love for. It's still pretty damn good, even though it's shit in so many ways.

Best Kill (may contain traces of spoiler)

When the alien ghosts (or dust or whatever the fuck they are) possessed the hapless dirt miners of Shining Valley, the first thing they did (after accessorising up with some dope body piercings) was find the settlement's (apparently very well-stocked) cache of circular saw blades, so they could use them as their projectile weapons of choice. I do think the destructive potential of this weapon was a little underdone in the film, but prize for most outstanding death must go to the otherwise rather milquetoast cop character, Descanso (Liam Waite). At first seeming thoroughly unfazed by having his left arm shorn off near the elbow somewhere, he stoically raises his gun to take a few more heavies out of the equation before we hear a satisfying "zzzzzzip" and an (unobtrusively CGI) saw blade swoops in and takes his head clear off. Great shot!