The greatest horror trilogy you’ve never heard of: The Apocalypse Trilogy

If the name John Carpenter means anything to you, it’s likely you’re aware of either Halloween (1978) or The Thing (1982). Both films are classics that redefined the slasher and survival horror genres respectively. If his name makes you think of nothing more than an aptly named handyman, then prepare to be introduced to one of the most important horror directors of all time, who deservedly garnered the nickname ‘the master of horror’.

A little-known fact, even among Carpenter fans, is that his masterpiece, The Thing, is the first film in an ‘Apocalypse Trilogy’, a trio of films that explore the end of the world through the trifecta of loss of body, faith, and sanity. The other two films associated with this trilogy are Prince of Darkness (1987) and In the Mouth of Madness (1994). These films feature monsters, aliens, and Satan himself, so whatever your horror villain of choice, there is something in these films for you.

“Nobody trusts anybody now… and we’re all very tired.”

Flamethrowers, Norwegians and a dog? The first, and most famous, of these films is The Thing. A group of scientists stationed in a remote outpost in Antarctica slowly begin being terrorised by an alien creature whose greatest weapon is perfectly mimicking those it kills. Yet, the greatest threat in the film is the scientists’ own paranoia as, isolated from the rest of the world, they begin to realise that they can only trust themselves.

When you see the faces of your friends and family but can’t tell if they are the people you love and trust, that surely signals the start of an apocalypse

Upon initial release, the film was critically panned, but a small cult following was born. Over the years, the following grew, as the claustrophobic and paranoia-inducing film began to charm and terrify even the most cynical of viewers. As the crew realises the perilous scenario they are in, and the potentially apocalyptic consequences of their choices, the stakes heighten, and the characters’ actions become increasingly frantic and rash. When you see the faces of your friends and family but can’t tell if they are the people you love and trust, that surely signals the start of an apocalypse.

Featuring one of the greatest endings in cinematic history and some outstanding practical effects that hold up to this day, The Thing is a film that should not be skipped.

“You will not be saved!”

While The Thing welcomes the apocalypse by ridding humans of our very identity, the second film, Prince of Darkness, has a different approach. The film centres around a church, which holds a cylinder of green slime that is believed to be a manifestation of the anti-Christ itself – like a twisted Nickelodeon awards show. So, what do the members of the church do? They hire a group of college students to prove what the cylinder holds, as they believe that a modern society would need scientific evidence of the existence of pure evil. Granted, the premise is bonkers, but that is what Carpenter thrives on. The execution is flawless, and deftly explores themes of science versus faith. While this apocalypse may be less subtle than the previous instalment, the themes are somewhat timeless. The world is being plunged into hell and yet people refuse to believe what is in front of their eyes, helpless to try and prevent the coming apocalypse. You can feel Carpenter’s cynicism of the world growing in this chapter as, after The Thing’s commercial and critical reception, he was having to fight tooth and nail to create films that he was proud of. This film is colder and meaner, but still with trademark Carpenter flair.

The final film of his trilogy is where cynicism truly manifests, as the apocalypse arises through the world losing its sanity.

“Have you read Stutter Cane?”

Many believe it to be a manifestation of his own loss of sanity at the studio system

In the Mouth of Madness follows a tax collector as he is sent to explore the sudden disappearance of acclaimed horror writer Stutter Cane, who is clearly inspired by Stephen King. The narrative blurs the lines of reality as the characters find themselves looking for the writer in the fictional town in his books, Hobb’s End, which exists in a state of almost dream-like logic. Climaxing in a way that will leave you simultaneously scratching your head and smiling with glee, this film feels the most distinct of the trilogy. The production occurred almost 20 years after Carpenter made The Thing and, after growing increasingly frustrated with a film industry driven solely by profits, many believe it to be a manifestation of his own loss of sanity at the studio system. The film feels like a closing chapter for the trilogy thematically, as Carpenter largely moves away from body horror and practical effects to instead incite fear through atmosphere and editing trickery alone. That’s not to say there are no signature practical effects here, but compared to the previous instalments, the quantity of them is considerably reduced. In a world where sanity is a precious resource that most of the population have exhausted, an apocalypse is the inevitable next step. There is a sense of real hopelessness at the ending of this film, making it a perfect closing film for this trilogy.

John Carpenter is a director that suffers from being a visionary in the horror genre, which is so often ignored and belittled when discussing films of true merit. Only six horror films have ever been nominated for the Best Picture award at the Oscars, and only one, The Silence of the Lambs (1991), has won. Yet this trilogy proves why directors of horror should get just as much recognition and praise as those from more ‘serious’ genres. According to Carpenter, there are three ways that an apocalypse is signalled: through a loss of identity, faith, and sanity. And yet the films that he creates to explore this hypothesis will scare and delight you in equal measures.