Very very predictable, including the post credit scene !!!

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

This movie feels like it was made purely to piss off people who want good shows

Story about a car killer is just one of those scripts that Carpenter built his career on, so the ''Christine'' fits in his portfolio like a glove. All the elements of the '80s trash horror will be there, poor acting, lame plots and some fine movie aesthetics. However, the bad elements will overcome the good ones and not in a good manner, leaving this flick as one of the weaker ones legendary John signs. Even if you are a automobile fan, ''Christine'' won't be a decent horror.

One common trait in horror stories is the ones about inanimate objects come to life. This definitely influences the terror of not being able to understand the existence on consciousness coming from something that shouldn't be there. This is why a lot of writers and directors have tackled various objects and elements come to life. We've seen killer dolls from Child's Play, killer tomatoes from Attack of the Killer Tomatoes, and even killer tires from Rubber (perhaps the weirdest of the bunch). Now the bigger and more complex the object is in question, the harder it's likely to destroy. So what about killer cars?The idea for such is actually a good one as this is one of the few objects come to life that could hide in plain sight. There's just as many cars on Earth as there are people, and it's always possible that there's a driver that we never see. Cars are built like human bodies, with layers of metal and machine hiding it's thin skeleton. We've seen them come to life in those Herbie movies like The Love Bug, and more recently in Cars, but not so much in horror format. It seems that John Carpenter decided to do so by adapting Stephen King's novel, Christine. In 1978, awkward teen Arnie Cunningham (played by Keith Gordon) is jealous that his only friend Dennis (played by John Stockwell) is the high schooler that everyone wants to be; popular, a ladies man and a football player. Arnie has to be constantly saved by Dennis from bullies, which only adds to the boy's own cowardliness. It also doesn't help that both of Arnie's parents treat him like a little boy with strict rules. Everything changes when Arnie suddenly spots an old 1985 Plymouth Fury. Sensing that this car cold be the answer to his problems, he quickly buys it from it's older owner George (played by Roberts Blossom)He restores the car at a garage run by the gruff, but encouraging Darnell (played by Robert Proskey). In the process, Arnie starts to take on the persona of a 1950's greaser with the jacket, slicked hair, and rougher attitude. This gives him the confidence to ask out the new girl Cabot. As time goes on, Arnie becomes rougher and the car manages to repair itself after damage from some bullies. This leads to the car itself going after the bullies (along with anyone whose wronged Arnie) in revenge.Christine is certainly an interesting movie. When compared to his other works, this doesn't seem like a John Carpenter-style movie. It's still shot well and manages to tell the film's story well, but a lot of the trademark attributes of his are not present (his synth score doesn't even come in until halfway). Christine is definitely a Stephen King story first…which is not a bad thing. I'm guessing Carpenter took on this project as his previous movie The Thing didn't do that well. The good news is that Christine works well enough that I recommend it.A lot of it has to do with the plot's focus on Arnie. You get a sense that this poor kid is in a place where he's constantly in the shadows of his friend and only wants one thing to be his. This car just happens to be that. The story cleverly lays a lot of the sympathy on him for a while…at least until the car starts acting out. From there…I really don't want to give away what happens, but that's part of the movie falls flat. The final climax with the car feels rushed and Arnie's arc seems to have been sidelined in order to deliver a crowd pleaser-style ending.Compared with what John Carpenter had to work with, he picked a good monster to use. What makes the car scary is that almost no information is given away to just how this car is doing so. It's a lot like a force that was present in Halloween or The Fog; something evil that's simply dark magic. And you think it would only be a car that runs over people, but there are some impressive effects that show the car fixing itself and squeezing in tight spaces. It's good character build and delivers on promised car action.I'll give this seven 1958 Plymouth Furys out of ten. Christine may feel like a typical studio horror thriller, but it's good at being that. There's even a bit of that B-movie style that John Carpenter fans would like to see. Check it out to see what's really under the hood that makes it good.

Certain that there is something sinister and supernatural about his best friend's new car, a high school jock eventually resorts to drastic measures in this iconic horror film based on a Stephen King novel. The film is visually impressive as per director John Carpenter norm with lots of mobile camera-work, and Keith Gordon is excellent as the new car owner who gradually transforms from poorly dressed, mild- mannered and reserved to slick, cocky and arrogant. The film may have been more interesting had it been told from Gordon's perspective rather than his best friend's, but even if we never quite get inside his head, the metaphorical nature of his transformation resonates as the milestone of owning his first car makes him feel confident and assertive for the first time. There is also a lot to like in the notion of a car that seems to get energy from the passion that its owner shows towards it, perhaps even growing jealous of others who show him warmth and affection. The film disappoints when it comes to explaining the supernatural origins of the automobile, inexplicably evil right from the time it gets off the assembly line (in King's book, the car's evil nature only comes from its previous owner expressing too much affection for it) but the film makes up for it with a candid look at the ability of car ownership to completely change one's personality. King's fascination with this relationship between cars and owners would continue with his directing of 'Maximum Overdrive' a few years later, though without the pronounced human element here.

One of the most intriguing coming-of-age stories in cinema, and this tends to be overlooked, both as a Stephen King story and horror film, in place of the more sensationalized frolic and mayhem of works such as 'The Shining', 'Carrie', 'Misery' and 'The Shawshank Redemption', which is a crying shame, because: a) John Carpenter is probably the finest director (at least Top 3) ever involved with King adaptations; and b) it perfectly conceptualizes, like earlier short experimental films by the likes of Kenneth Anger, the downright uncomfortable sleaziness and fetishism that has existed, mainly in America, between men and their cars.Keith Gordon does some really fine acting here (as he did previously for Brian De Palma in 'Dressed to Kill') as all possible dynamics along the range from nerd to psycho. It's impressive that, while growing up in film, he obviously learned some of the tricks of the trade from such cinematic greats (at least of American film of the past 50 years) and ended up becoming a decent film helmer himself.9/10 for me; Grade A Carpenter. It simply isn't top-tier for me, of his oeuvre, because I know he, like Sir Alfred Hitchcock, De Palma and other greats, is capable of cinematic perfection (Halloween, The Thing, etc.).