I’ve always considered In the Mouth of Madness (1994) to be John Carpenter’s truly last great film. It came out at a time when horror films were becoming more self-flexive in nature with Wes Craven’s New Nightmare (1994), a fictionalized account of actual key cast and crew members from the A Nightmare on Elm Street franchise making the latest entry; and the Scream trilogy filled with genre savvy characters who delight in quoting from other slasher films while also identifying the rules that many of these films follow. Carpenter’s film has elements from both of these examples. Like New Nightmare, it blurs the lines between reality and fantasy and, like the Scream films, it is conscious of itself within the horror genre.
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