One of the most tragic facts about cinema is thatJohn Carpenteris only being recognized asone of horror’s greatest directorsdecades after he should have been. While his title as the master of horror is now undisputed,there was a time when his films were largely derided by critics, only being re-evaluated following successful runs on home video and the midnight circuit.The Thingis the most infamous example,a film that is now considered a landmark of the genrebut was initially met with a level of vitriol that is almost unimaginable (with terms like “instant junk” and the “quintessential moron movie” being thrown around like confetti). Why he film received such a backlash remains unclear (competition fromE.T.andBlade Runnerthat both released in the same window being just one reason), but its subsequent acclaim has led to most of its early critics falling mysteriously silent. Unfortunately, the same cannot be said for another of his films based around the inscrutable world of cosmic horror, one that explores many of the same concepts asThe Thingwhile pushing them in new and (whisper it) better directions: his 1987 supernatural masterpiece,Prince of Darkness, which is now streaming on Peacock.
John Carpenter’s ‘Prince of Darkness’ Is Part of His Apocalypse Trilogy
Although unrelated to its predecessor,The Thing, in terms of plot,Carpenter considersPrince of Darknessto be the second entry in his self-dubbed “Apocalypse Trilogy,“a series that would end with 1994’s cult classicIn the Mouth of Madness. All three draw heavily from the works ofH. P. Lovecraft, and see their unfortunate casts of characters confronted by beings beyond our comprehension, forcing an examination into humanity’s place in a vast and uncaring universe. They also take place primarily in a single location, creating a microcosm of terror that will destroy the world should it escape. It’s a brilliant premise, but judging by reviews both past and present,Prince of Darknessfailed to reach the highs of its companions.
It’s widely considered the weakest film in the trilogy, and often ranks toward the bottom of Carpenter’s filmography. To some extent, this is understandable —it doesn’t have the strong characters ofThe Thingor the creativity ofIn the Mouth of Madness, but whatPrince of Darknessdoes have is a feeling of sheer, unrelenting dread. This is a film dripping with atmosphere, with the shadow of impending doom lingering over every second like the grim reaper hiding just out of frame. It manages to makeThe Thinglook tame, and that’s not something just any film can accomplish. The Apocalypse Trilogy has never been more accurately named than here.
‘Prince of Darkness’ Rises Above It’s B-Movie Plot
The plot ofPrince of Darknesscenters arounda Los Angeles monastery owned by the mysterious Brotherhood of Sleep, an ancient sect that communicates through dreams. The head priest has died in mysterious circumstances, and his replacement (an unnamed priest played by the always delightfulDonald Pleasence) invites physicist Howard Birack (Victor Wong) and a small group of his students to join him in the monastery. The priest hopes they will be able to provide answers to the strange cylinder of green liquid that he has found in the basement. Investigations reveal it to be the corporeal embodiment of Satan, and soon after, it begins possessing members of the group after it begins to escape from its confinement.
Unable to leave due to a mass of schizophrenic homeless people surrounding the building,the survivors are forced to combat this evil before it succeeds in bringing the even more nefarious Anti-God into our world, all the while battling a recurring dream of a shadowy figure emerging from the church that appears to be predicting the future. Just reciting the plot can make it sound a tad silly, but Carpenter treats it with maturity to elevate it above its B-movie roots. The result is an engaging story that dares to ask grand questions about human nature and our importance (or lack thereof) in the universe,echoing themes explored inThe Thingwhile still retaining a distinct identity.
John Carpenter’s Direction and Score Builds a Sense of Dread
As previously mentioned,Prince of Darknessis at its best when it’s sowing the seeds of inevitable doom, and thankfully, Carpenter realizes that too. Characterization is serviceable but cliché, with only the most threadbare of development given, so we’re invested enough for our leads to make it out alive. This might sound like a problem, but in a film where petty human drama like love triangles become meaningless when faced with our extinction by a creature we cannot begin to understand, it’s only fitting that complex character arcs fall by the wayside. The trade-off is more time spent immersing ourselves in Carpenter’s latest ordeal, and he wastes no time piling on the tension.
The opening montage is some of his strongest work as a director, with innocent scenes of college life juxtaposed against the priest’s initial realization that the world is in great danger, all sandwiched between an ominous lunar eclipse above and an onslaught of ants below.The score is the final touch of horrific delight— a foreboding growl based around three notes that drips blood from every tone, giving a sinister undertone to mundane scenes like two students walking through an idyllic campus. Even after the credits have rolled, Carpenter rarely allows for silence, instead keeping the soundtrack pulsing away to ensure the film has a constant sense of energy.It’s among the finest scores of his career, and serves as the perfect fanfare for the incoming Armageddon.
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It’s a hard job to construct a tense and well-paced build-up without slipping into plain old boredom (while still remembering to have an actual payoff at some point), but Carpenter’s economic filmmaking is at its peak here.The pace is quick but never rushed, allowing for a continuous stream of movement that never lets you get attached to one person or location.Characters float between rooms while discussing theological questions, barely registering the torrent of worms gushing down the windows that soon feel comparatively tame as we descend further into this nightmare.
Some of Carpenter’s most striking shots are on display;from the menacing group of homeless people silently watching the church, ready to pounce like an attack dog at the first sign of escape, to the heart-stopping image of a dead man’s skin being resurrected by hundreds of writhing beetles before crumbling to pieces and vanishing into the night. The highlight is the distorted dream sequence. Its low-fi appearance that conjures memories of a VHS is an interesting choice, but it gives it an otherworldly tone that adds to its mystique. It’s a haunting image, both literally and figuratively, and its role as a metaphorical ticking clock counting down to a hellish future is the film’s most terrifying creation.
A Creepy Atmosphere Adds to the Horror in ‘Prince of Darkness’
The monastery itself is an excellent location, and Carpenter’s masterful sense of space exploits its every crevice.His trademark widescreen cinematographyremains some of the most quietly effective in the industry, transforming mundane scenes into works of true beauty. (Look at how he frames the priest’s arrival at the church, its vast exterior staring down at him like he’s not even worthy of standing in its shadow.) The interplay between the old and the new is fantastic, with ancient crypts lit only by candles becoming the resting place for advanced scientific equipment rendered useless in the face of such an unknowable force. Before long, the survivors are constructing barricades out of sofas and using planks of wood as weapons, a return to a primordial way of life that’s only fitting given the enemy they face.
It’s this mindset that defeats the Anti-God, withthe mirror it’s using to enter our world being shattered not by computers or degrees but instead by a simple ax.As with all good Lovecraftian stories, victory feels more like defeat. The Anti-God is still out there, and the actions of today have only bought them a few years before this all happens again.The Thingended on a downer, but at least there was the sense that a potential global catastrophe has been averted. WithPrince of Darkness, there’s little to suggest they’ve even made a dent… especially if that still-persisting dream is anything to go by.
‘Prince of Darkness’ Taps Into Lovecraftian Horror and Dread
One ofPrince of Darkness’sgreatest moments is also its simplest. Following a night of mayhem that claims the lives of most of the team, the dawn rises on a planet that may have just hours left.The chaos of possessed zombies and a liquid Satan gives way to a moment of peace, and Carpenter uses this time to cut to an exterior shot of the monastery. A car drives past; its driver pays no attention to the building as if it’s the most ordinary thing in the world, then we cut back inside and the story continues. It lasts for a matter of seconds, but the implication is terrifying. Humanity is on the verge of annihilation, but only the tragic souls trapped inside that building know it’s happening. That driver came within a stone’s throw of certain death, but instead they just drove past in blissful ignorance, a chilling thought that speaks to how little we really know about the world around us.
It’s a theme that reverberates throughout the film,evoking the old Lovecraft ideaof humans being nothing more than a speck of dust on a giant rockwho understand nothing about the universe around us. For centuries, we believed the Devil was the ultimate personification of evil, and now we learn that he’s merely a foot soldier for a far greater entity. It’s a revelation that fractures both the world of science and religion, and as the credits roll we’re left wondering what other truths are mere fabrication.Prince of Darknessis not perfect, andacts as a better showcase for John Carpenter the directorthan John Carpenter the writer — our supposedly rational characters are very quick to accept the supernatural, for example — but when directing is this good it’s not worth concerning yourself with such matters.
Nothing in his filmographyhas a better atmosphere than this, with the dread that persists and torments from the first frame to the last creating a disturbing experience rivaled by little else. The best horror is the kind that lingers, and whenPrince of Darknesssmashes to black following its eerie final minute, you’ll be in no doubt why Carpenter is horror’s greatest master. The apocalypse is coming, evil lurks behind every corner, and there’s nothing we can do to stop it… what’s not to love?
‘Prince of Darkness’ Is One of John Carpenter’s Most Underappreciated Films
Prince of Darknesshad an ideal release date, coming out on July 12, 2025, just days before Halloween, but although John Carpenter had established himself as one of the biggest names in horror, this film was a box office dud,taking in just $14 million. Critics haven’t been much kinder, withPrince of Darknesshavinga mediocre 63% on Rotten Tomatoes.Roger Ebertsummed up most people’s opinionswith his two-star review at the time, writing that he enjoyed the set-up but that the plot turned simplistic and thin.Ebert wanted a film about the devil that was something likeThe EntityorThe Exorcist, but instead, as he put it, he got “a dud.”
John Carpenter had made several huge horror hits in a row, which both helped and hurt him. He became a household name in 1978 by writing and directingHalloween, a movie that worked because of its simplicity.The Thingmight not have seemed simplistic, but if you strip away those wild practical effects, you have an effective, basic story being told. In 1986, Carpenter created a wild action fantasy film withBig Trouble in Little China. We loved it because it was so over-the-top. Imagine, instead, if it had a thin plot. Would it have become such a hit if it was justKurt Russellacting cool inside of a thin plot?
Prince of Darknessis disappointing on first watch because it’s not the movie you want it to be, but that’s also the exact reason why it should be celebrated. It would have been so easy for Carpenter to make a clone ofThe Exorcist, but he wasn’t interested in that. It’s just like howhis contemporary,Wes Craven, made a zombie withThe Serpent and the Rainbowby defying conventions and not giving us the zombies we expected.Carpenter actually found his inspiration forPrince of Darknessfrom Dario Argento’s 1980 film,Inferno.In an interview for the Blu-Ray release of his film, Carpenter raved about how it was so free and didn’t make a lot of sense. Carpenter said,
“The movie was so profound. I thought, ‘Well, shit, I want to do something like this.’ So that’s what my inspiration really came from.” Carpenter also confessed that he was sick of making big budget movies and wanted to challenge himself, saying, “I longed to make a low-budget movie where I would have complete control over it—the story, the flow, the characters, the thematic materials.”
The end result isn’t one of Carpenter’s most famous films,but it’s one of his most challenging,and one where his passion shines through despite the flaws. It was certainly better for him, and for us, than just making moreHalloweensequels. After all, what’s the point of being an artist if you’re not constantly testing and challenging your abilities? Love it or hate it,Prince of Darknessis a movie like you’ve never seen before.
Prince of Darkness
Prince of Darknessis available to watch on Peacock in the U.S.
