Ghosts of Mars (2001)
Director: John Carpenter
Starring: Natasha Henstridge, Ice Cube, Jason Statham, Clea Duvall
Primary genre: Horror
Secondary genre: Action
Third genre: Space
Fourth genre: Western
Following a somewhat creative decline in the 90s, John Carpenter was back with a moderate budgeted film featuring a highly intriguing title. A spiritual sequel of some sorts to “Escape from L.A” (1996) and a space remake of his “Assault on Precinct 13” (1976), “Ghosts of Mars” is an action horror western which despite its critical and commercial disappointment, its many eccentric choices are enough to place it the cult status altar like most of the iconic director’s other cinematic outputs.
In the early noughties, the red planet proved to be an exciting new frontier for Hollywood adventures (e.g., De Palma’s “Mission to Mars” (2000), “Red Planet” (2000), “Doom” (2005)), albeit none could capture a particularly inspiring story besides Paul Verhoeven’s “Total Recall” (1990). “Ghosts of Mars” is by far the best even of this can be interpreted as a backhanded comment considering the competition is not that high.
Campy enough to pay an entertaining homage to those pesky drive in flicks of the 70s, certain aspects drag it down. Telling the story through a flashback only to have a flashback within a flashback and … within a flashback is ultimately a cop out tactic sucking out dry the tension. Carpenter also plays the same moments twice for no particularly compelling reason besides extending the running time and our patience. The emphasis on a future matriarchy society is an interesting one considering (obvious) lesbian relationships and casual sex are nothing to be ashamed off but this commentary is redundant and the more characters the script introduces, the more easily are dispatched generating a ‘whatever’ response from both the survivors and the remaining audience. And the less said about Ice Cube’s Desolation (really?) Williams, the better; the rapper simply does not have the necessary presence to pull out such a physically demanding (and imposing) role.
Yet, the film works best during its first half, with Carpenter typically echoing Lovecraftian sentiments of isolation, paranoia and incoming doom elevated by an authentic location and an actual night shoot blending elements of several genres together effectively. His expansive cast (including a Hollywood up and coming Jason Statham, Pam Grier and Joanna Cassidy) do what they can with their limited roles and the gorgeous Natasha Henstridge as the wannabe Ripley of Mars proves for a somewhat solid action lead.
“Friday night, the whole place should be packed. A whole twelve hours before sun up and there’s money to burn, whores to fuck and drugs to take”
The numerous fight sequences are goofy and cute within a “Big Trouble in Little China” (1986) way as Carpenter himself stated that he intended to shoot them as such. When the muscular Marilyn Mansonesque villain is named “Big Daddy Mars”, you know you are not supposed to take this flick seriously. Come to think about it, it is all a B-movie execution packed with off beat humor (e.g., the lack of physics in gun power and grenades that sees goons flying off the screen like Air Jordan is a work of genius) and child-friendly grotesque make up effects as opposed to the emotions of horrific on screen self-mutilation.
But then again the greatest asset of “Ghosts of Mars” is just how mental and yes, metal it is and sounds. It was the first film with a score entirely composed by Carpenter and famous metal musicians. You might have had the occasional Ry Cooder or Trevor Rabin performing scoring duties, but it was this flick that started the trend where “obscure” (in terms of sound) bands were contributing towards movie scores (e.g., Marilyn Manson for “Resident Evil” (2002), Massive Attack for “Danny the Dog“ (2005)). This novel score boasts superb solo work from virtuosos like Steve Vai, Buckethead, Robert Finck (“Nine Inch Nails“, late years of “Guns N’ Roses”), Elliot Easton (“The Cars”) and Scott Iain (“Anthrax”) all coming together to create bluesy, synth based and guitar shredding tracks much to the pleasure of the genre crowd.
“Ghosts of Mars” might not have been the vehicle to bring Carpenter back 100%. I fact, it did the exact opposite sending the silver hair filmmaker to exile until his return with 2010’s “The Ward”. Yet, in a cruel and delayed twist of fate, it evolved towards a cult gem( depending on where you stand) requiring pizza and cold beers to offer appropriate comfort for a night in. It is something unique, a piece of entertainment that Carpenter can claim as his own featuring capable female leads, a kick ass soundtrack and a novel premise.
Kick ass soundtrack, mediocre script
+Good cast
+Initial premise
+Amazing soundtrack
+Typically good direction from JC
+Campy tone
-Flashback device is pointless
-Lack of tension
-Campy tone