John Carpenter’s Prince of Darkness is a film that defies easy categorization. Released as part of Carpenter’s Apocalypse Trilogy, it melds quantum physics, ancient evil, and theological concepts into a unique and ambitious cinematic experience. While it may not be as widely celebrated as some of Carpenter’s other works, it deserves recognition for its daring approach to horror.
Deep beneath an old church lies a crypt where an ancient evil has slumbered for 2,000 years. This evil force, known as the Sleeper, is Absolute Evil itself. When the Sleeper awakens, chaos ensues. A priest (played by the ever-intense Donald Pleasence) seeks help from a theoretical physicist (Victor Wong) to prevent the impending apocalypse. As the Sleeper stirs, a group of graduate students moves into the church armed with computers and determination.
The Good
1. Intriguing Setup
The film’s initial premise is captivating. The clash between science and the supernatural, the visible world versus the subatomic chaos, sets the stage for an engaging battle. The priest-scientist collaboration adds depth, and the budding romance among the graduate students provides a human touch.
2. Atmospheric Tension
Carpenter masterfully builds tension. The claustrophobic setting of the church, the eerie music, and the sense of impending doom keep viewers on edge. The radio transmissions from the future, received in dreams, add an otherworldly layer.
3. Alice Cooper’s Cameo
Yes, you read that right. Rock legend Alice Cooper appears as an insane homeless killer. His presence injects a delightful dose of weirdness into the film.
The Not-So-Good
1. The Sleeper’s Letdown
Despite its promising setup, the Sleeper itself disappoints. Instead of a grand cosmic evil, we get a green, amorphous thing in a tube that sprays fluids into people’s mouths, turning them into forgetful zombies. When promised the Prince of Darkness, we expected more.
2. Horror Movie Clichés
Characters wander off alone, presenting themselves as the next victim—a common mistake in horror films. Didn’t they watch Carpenter’s own The Thing (1982)?
3. Overbearing Music
The synthesized score, composed by Carpenter and Alan Howarth, starts effectively but becomes obnoxious. It screams, “This isn’t ordinary!” a bit too loudly.
The Final Verdict
Prince of Darkness contains the ingredients for a much better movie. While it doesn’t fully deliver on its cosmic horror promise, it remains a fascinating entry in Carpenter’s filmography. If you’re a fan of experimental horror and don’t mind a few missteps, give it a watch. Just be prepared for green zucchini-like entities and a soundtrack that won’t let you forget you’re in the presence of the supernatural.
