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With mainstream 21st-century horror mostly amounting to toothless PG-13 endeavours with ineffective jump scares, as well as sequels and remakes, it is refreshing to dabble in genre classics and see how real horror movies are done. When it comes to classic horror films, critics and audiences consider director John Carpenter's works to be among the genre's finest for good reason; after all, the horror luminary was responsible for Halloween, The Fog, The Thing, and Prince of Darkness, to name a few. One of Carpenter's most underrated pictures is 1995's In the Mouth of Madness, a H.P. Lovecraft-inspired supernatural horror film that failed at the box office before quietly developing into a cult classic. A proper horror movie that blurs the line between reality and fantasy, In the Mouth of Madness benefits from a strong sense of atmosphere, imagination, innovation and style, proving yet again why Carpenter is such an icon.
A cynical, hardboiled freelance insurance investigator, John Trent (Sam Neill) constantly deals with fraudulent claims and loves busting phonies. For his latest assignment, publishing director Jackson Harglow (Charlton Heston) tasks Trent with tracking down the missing Sutter Cane (Jürgen Prochnow). Cane is the world's best-selling horror author, and he disappears on the eve of delivering his highly anticipated new novel (quaintly titled In the Mouth of Madness), which has readers and retailers in a frenzy. Suspecting a publicity stunt, Trent begins his investigation and grows to believe that Cane is hiding in a small, forgotten American town that serves as the principal location for his novels. Following the clues, Trent embarks on a hunt for the deserted town of Hobb's End, accompanied by Cane's editor, Linda Styles (Julie Carmen). However, after finding Hobb's End, Trent discovers that this case is like nothing he has previously handled.
Screenwriter Michael De Luca (New Line Cinema's former President of Production), who initially wrote the script in the late 1980s, cites H.P. Lovecraft as an inspiration for In the Mouth of Madness, with the central concept involving exiled monsters lurking in an extradimensional limbo, trying to return to earth. Additionally, a theme of insanity plays a role in the film, with Trent confined to an asylum, and the title is a play on Lovecraft's novella, At the Mountains of Madness. By any standard, this is an A-grade John Carpenter film that stands alongside the director's best and most seminal works. Conceptually rich and intricate, the story is fresh and original, showing more innovation than run-of-the-mill slasher pictures, torture porn movies or haunted house flicks. The fabric of the narrative ultimately collapses in the third act, giving way to mindfuckery and complete madness, with the conventional story structure breaking down in favour of an apocalyptic nightmare puppeteered by a master of horror. Trent has no idea what will happen next at any point in the story, and neither will the viewer. That is why it works. Carpenter and De Luca have no interest in genre clichés; Styles is not a mere love interest, characters die without sentimentality, and there is no happy ending. Carpenter considers In the Mouth of Madness the third part of his "Apocalypse Trilogy," following The Thing and Prince of Darkness, and the picture's events have worldwide apocalyptic ramifications.
In the Mouth of Madness allows Carpenter to showcase his unparalleled propensity for genre theatrics, building an apprehensive, uneasy atmosphere and delivering visceral shocks while keeping viewers on the edge of their seats. The filmmaker knows how to shock and disturb, conjuring up genuinely chilling images that will haunt your psyche for days. Although the film might not scare you, it is incredibly unsettling. With production taking place before digital effects became so prevalent, the monsters throughout In the Mouth of Madness are the result of fantastic prosthetics and animatronics, including an iconic wall of monsters. Not all of the special effects stand up to contemporary scrutiny, but this hardly matters, as the film is highly engaging due to Gary B. Kibbe's stylish, evocative cinematography and Carpenter's pervasive sense of atmosphere. The pacing is also strong, with Carpenter never lingering on a scene or set piece for too long, and the picture never succumbing to repetitiveness. At 95 minutes long, the movie gets into the nitty gritty following brisk character and story development, and subsequently piles on the scares with breathless intensity until the credits begin to roll. Thankfully, as expected from a Carpenter movie, the director also contributes to the score, leading to a soundtrack that oozes with dread and apprehension.
Despite his role in Jurassic Park, Sam Neill is not an obvious choice for a horror movie protagonist. However, the Kiwi actor steps up the challenge to pull off a wholly convincing, intense performance, and it is hard to imagine another actor playing Trent this effectively. Neill is particularly successful in his ability to convey the different facets of Trent's character, from his reaction to being locked in a mental asylum to the emotions he experiences while witnessing the terrifying events that drive him mad. Alongside him, Julie Carmen is not quite as good, coming across as weak and forgettable, and failing to make much of an impact despite making an effort. Fortunately, the rest of the actors are sublime. Jürgen Prochnow (Das Boot) is thoroughly chilling as Sutter Cane, emanating evil and delivering dialogue with a tone that will make the hairs on your neck stand up. Meanwhile, the always-reliable Charlton Heston (Planet of the Apes) is strong and authoritative, and David Warner (Titanic) displays a brilliant talent for mixing confidence and vulnerability as Trent's doctor. John Glover is also worth mentioning as a flamboyant asylum worker, Saperstein.
In the Mouth of Madness is not a guilty pleasure of a horror flick that demands a temporary lobotomy before viewing - instead, this is a brilliant, unforgettable, scary tour de force and a godsend for horror buffs. It is also a clever satire on the "movie violence causes violence in everyday society" argument. The ambiguous ending leaves things open for interpretation, further solidifying In the Mouth of Madness as a horror film that asks you to engage your brain while enjoying the competent scare show.
8.3/10
