Review: THE WARD - A Continuation of Carpenter's Decaying Horror Stature
rating: 1.5
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Easy though it is to laud John Carpenter's endlessly entertaining early works - from robustly mounted fare such as Assault on Precinct 13 and The Thing, to sillier but no less enjoyable flicks such as Big Trouble in Little China - the auteur's output as of late has been, to be kind, pretty naff. And by saying "as of late", we mean for the last two decades, for his last work to truly resonate was his deliciously subversive, Rowdy Roddy Piper-starring They Live. That was 1988. Efforts in the interim have ranged from the sporadically enjoyable guilty pleasures of Vampires and Escape from L.A., to the resolute horror - and not in the way Carpenter intended - of Ghosts of Mars, his last feature film. The Ward, a seemingly legitimate horror vehicle by premise and cast alone with which Carpenter could rebuild his throwback style, is less a return to form and more a continuation of Carpenter's present decaying stature as a relevant horror filmmaker, making his streak of no-hitters probably the longest - and certainly the most memorable and disappointing - that any talented director of any genre has suffered under. Fun though it is to skewer bad films, there's little joy to take in reporting that Carpenter's big comeback film is, in fact, a putrid, shrivelled dud; it's just sad. The Ward begins with Kristen (Amber Heard) burning her home down for reasons unknown and being sent to the local mental institution. Replacing former inmate Tammy - who disappeared under decidedly shady circumstances - she joins the four other loony femmes comprising the ward's roster, just as their numbers quickly begin to dwindle with curious efficiency. The top brass, consisting of the benignly sinister Dr. Stringer (Jared Stringer) and Nurse Lundt (Susanna Burney), dismiss their assertions - that there is a killer haunting the hospital at night - as mere delusions, while the girls are sure they know differently. Little more than an overly familiar, been-there-done-that ghost story, The Ward is keen to straddle genre formula without even the courtesy to be efficient at it. Enthusiastically embracing every horror cliché imaginable as well as a few I hadnt thought of from the apparently-evil-but-not-really supporting ghouls, to the litany of predictable jump scares that populate just about every suspense sequence, theres not a single surprising bone in its body.