Second viewing, first in probably 20 years. Maybe ghost pirates just aren't that scary? Set up works really well, both the John Houseman campfire ghost story and the credit sequence that shows little things going astray in the coastal Californian town. Carpenter's toolkit is quite robust here and he employs his tricks quite brilliantly, his work with cinematographer Dean Cundey is excellent at utilizing space within the scope frame and the titular fog gives them plenty of opportunities to play…
I love that Amazon Prime has so many sleazy, exploitation titles up streaming right now, as it saves me from having to buy the blu-ray for titles like this that I'm not sure I will want. However, I should give a consumer warning that this is not presented in the correct aspect ratio and that makes me wonder about the source of the transfer. The film is mildly enjoyable but ultimately quite idiotically plotted, the opening credit sequence with multiple exposure images is pretty nifty.
Second viewing of finished film, umpteenth viewing of film in some form and I watched all the dailies while I was working on the film as an Apprentice Editor before it was moved to the UK to finish editing in order to take advantage of rebates. I'm gobsmacked by Hanks' take on post traumatic shock every time I see it, I remember watching the dailies and the first take, the medic kept messing up her take but Hanks guided her…
Editors are not usually recognized as auteur figures but Hank Corwin is a special case, he has such a distinctive style that it shapes whatever material he touches and it becomes uniquely his own. You will notice a couple things if you look at his IMDB, one that he a credited editor on Oliver Stone's most aggressively edited features, NATURAL BORN KILLERS to U-TURN and I think it's fair to assume much of the hyperkinetic editing and jarring rhythms of…