Plot
In the winter of 1982, a buried alien spacecraft is discovered in Antarctica by Lars, Peder and Olav, members of a Norwegian research station, "Thule". American paleontologist Kate Lloyd is recruited by Dr. Sander Halvorson and his assistant Adam Finch to investigate. They fly to Thule in an American helicopter operated by Carter, a pilot, Jameson, his co-pilot, and Griggs, a crewman. The scientists are met by station chief Edvard, Juliette, and Karl. After seeing the spacecraft, the scientists examine an alien body buried in the ice nearby, and make plans to excavate it. That evening, the new arrivals meet the rest of the base: Jonas, Henrik, Colin, and Lars' dog.
The next day, the body is excavated in a block of ice, which gradually melts in storage. In the evening, Jameson sees the alien burst from the ice. The team search for the creature, finding Lars' dog dead. The creature is found; it kills Henrik by dragging him into itself, spattering blood on Olav. The group burn the creature, killing it. An autopsy finds a metal implant of Henrik's outside of his body, and further that the creature's cells were copying Henrik's. Olav falls ill.
The next morning, the helicopter crew departs with Olav, for McMurdo. During takeoff, Kate discovers dental fillings near a bloodied shower. She runs outside to flag down the helicopter. When it attempts to land, Griggs transforms and attacks Olav. The helicopter spins out of control and crashes in the mountains. Kate finds the shower has been cleaned up and tells the team that the alien organism imitates its victims. Noting that Thule's helicopter is away for refueling at Halley, Edvard orders the team to drive to the closest base. Juliette lures Kate into an abandoned room, transforming and attacking her. Kate escapes, but the Juliette-creature instead kills Karl. Lars arrives with a flamethrower and burns the Juliette-creature. The team resolve to quarantine themselves until the threat is eliminated, and discuss scientific tests.
That night, Carter and Jameson improbably stagger back to the base, out of the cold. Suspecting them as creatures, the group isolate them. Thule's laboratory is sabotaged, and tensions flare. Inspired by her earlier discovery, Kate proposes a simple test: everyone must open their mouths to check for dental fillings. The alien does not assimilate inorganic or metallic material, and so people with fillings are cleared. The test implicates Sander, Edvard, Adam, and Colin, who have no visible fillings. Lars and Jonas go to get Carter and Jameson for testing, and as Lars searches an outer building, he is suddenly pulled inside. Chaos erupts, and Carter and Jameson break into the main building, shooting Peder dead and puncturing his flamethrower's tank. The flamethrower's leaking fuel meets its active flame, causing an explosion which knocks Edvard unconscious. When brought to the main room, Edvard violently transforms, infects Jonas, kills Jameson, and gruesomely assimilates Adam. The Edvard-creature drags Adam's body away, now part of its own body. Kate burns Jonas and Jameson before she and Carter pursue the creature, which assimilates Sander. The Edvard-Adam-creature attacks Carter but is burned by Kate, saving him.
An assimilated Sander drives off into the night, pursued by Kate and Carter. They arrive at the spacecraft which suddenly activates, separating them. Kate falls into the ship, confronting the Sander-creature. Kate kills it with a grenade and the explosion shuts down the ship's engines. Kate and Carter reunite. Kate notices that Carter is missing an earring he wore earlier. When confronted, Carter points to the wrong ear. Kate burns the Carter-creature, which emits an alien scream, and she seeks warmth in a nearby snowcat.
The next morning, Thule's helicopter pilot Matias returns. Absent from the film's events until this point, Matias views the ruined station and the husk of the Edvard-Adam-creature with horror. Colin is shown to have committed suicide by knife. Lars shoots at Matias and orders him to open his mouth. Lars' dog, thought dead, emerges and runs away. Lars orders Matias to start the helicopter and give chase.
Production
Development
| "It's a really fascinating way to construct a story because we're doing it by autopsy, by examining very, very closely everything we know about the Norwegian camp and about the events that happened there from photos and video footage that's recovered, from a visit to the base, the director, producer and I have gone through it countless times marking, you know, there's a fire axe in the door, we have to account for that…we're having to reverse engineer it, so those details all matter to us ‘cause it all has to make sense." |
| — Eric Heisserer describing the process of creating a script that is consistent with the first film. [18] |
After creating the Dawn of the Dead remake, producers Marc Abraham and Eric Newman began to look through the Universal Studios library to find new properties to work on. [19] Upon finding John Carpenter's 1982 film The Thing, the two convinced Universal to create a prequel instead of a remake, as they felt that remaking Carpenter's film would be like "paint(ing) a moustache on the Mona Lisa". [20] Eric Newman explained; "I'd be the first to say no one should ever try to do Jaws again and I certainly wouldn't want to see anyone remake The Exorcist ... And we really felt the same way about The Thing. It's a great film. But once we realized there was a new story to tell, with the same characters and the same world, but from a very different point of view, we took it as a challenge. It's the story about the guys who are just ghosts in Carpenter's movie – they're already dead. But having Universal give us a chance to tell their story was irresistible." [21]
In early 2009, Variety reported the launch of a project to film a prequel—possibly following MacReady's brother during the events leading up to the opening moments of the 1982 film—with Matthijs van Heijningen Jr. as director and Ronald D. Moore as writer. [22] [23] Matthijs van Heijningen, Jr. became involved in the project when his first planned feature film, a sequel to the Dawn of the Dead remake, a zombie film taking place in Las Vegas written and produced by Zack Snyder, who directed the Dawn of the Dead remake, and co-produced by Abraham and Newman, called Army of the Dead, was cancelled by the studio three months before production began. Needing to start all over again, he asked his agent to see if there was a The Thing project in development, since Alien and The Thing are his favorite films. [24] As a fan of Carpenter's film, he was interested in the project because, being European himself, he had always wondered what happened at the Norwegian camp. [25] In March 2009, Moore described his script as a "companion piece" to Carpenter's film and "not a remake." [26] "We're telling the story of the Norwegian camp that found the Thing before the Kurt Russell group did", he said. [26] Eric Heisserer was later hired to do a complete rewrite of Moore's script. [27] Heisserer explained that in writing the script, it was necessary for him to research all the information that was revealed about the Norwegian camp from the first film, down to the smallest details, so that it could be incorporated into the prequel in order to create a consistent backstory. [18] The decision was made to name the film the same title as the first film, because the producers felt adding a "colon title" such as Exorcist II: The Heretic had felt less reverential. [25] In April 2010 it was revealed that Scott Frank had been hired to work uncredited on new dialogue for the film. [28]
Matthijs van Heijningen, Jr. explained that he created the film not to simply be a horror film, but to also focus largely on the human drama with the interaction between characters, as the first film had. [29] The director felt that horror films worked better when time was spent to explore the characters' emotional journeys, allowing the audience to care about them. [30] Mary Elizabeth Winstead insisted that the film would not feature any romantic or sexual elements with her character, as it would be inappropriate considering the tone of the film. [31] Adewale Akinnuoye-Agbaje said that the film would try to recreate the feeling of paranoia and distrust that the first film had, where the characters can't tell who has been infected by the alien. [32] The filmmakers drew additional inspiration for the film from the original novel Who Goes There? , in making the characters in the film educated scientists as opposed to "blue collar" workers. [25] However, the filmmakers drew no influence from the events of The Thing video game. [25] The director also drew additional inspiration from the film Alien in creating the film, particularly in regard to casting a female lead, [29] and in the way the alien creatures are filmed by not showing too much of them. [24] Matthijs van Heijningen also cited the films of director Roman Polanski as influence, such as his work on Rosemary's Baby . [30] Actual Norwegian and Danish actors were cast in the film to play the Norwegian characters, [25] and the director allowed the actors to improvise elements different from what was scripted when they felt it was appropriate, such as a scene where the characters sing a Norwegian folk song called Sámiid Ædnan ("Lapland"). [30] [31] [33] Many scenes involving characters speaking Norwegian were subtitled, [34] and the language barrier between them and the English speaking characters is exploited to add to the film's feeling of paranoia. [35] Director Matthijs van Heijningen said that the film would show the alien creature in its "pure form", as it was discovered in its ship by the Norwegians; however, it is not revealed whether this is the creature's original form or the form of another creature it had assimilated. [6] Addressing rumors stating that John Carpenter wished to have a cameo appearance in the film, [25] Carpenter himself corrected these in an interview for the fan site "Outpost 31", in August 2012. "[Those] rumors are not true", Carpenter stated in the interview. [36]
Filming and post-production
The film was shot in the anamorphic format on 35 mm film, as the director dislikes the look of films shot digitally. [30] The director chose not to fast cut the film, instead opting for a slower pace, hoping to build a sense of pending dread. [30] The prequel was filmed in Pinewood Toronto Studios, Port Lands on March 22, 2010 and ended on June 28, 2010. [37] On set, the director had a laptop computer which contained "a million" screen captures of the Carpenter film, which he used as a point of reference to keep the Norwegian camp visually consistent with the first film. [38] Alec Gillis and Tom Woodruff Jr. of Amalgamated Dynamics created the practical creature effects for the film. [39] In addition to creating the effects for the human-Thing transformations, Gillis, Woodruff and their team had the challenge of coming up with the look of the alien in the ice block unearthed by the Norwegians. While it was initially only intended to be shown as a silhouette, the director liked their designs and encouraged them to fully create the creature, which was realised by creating a monster suit that Tom Woodruff wore. [35] The effects team opted to use cable-operated animatronics over more complex hydraulic controls, as they felt they gave a more "organic feel". [35] In order to emulate the creature effects of the first film, Heisserer revealed that traditional practical effects would be used on the creatures whenever possible. [40] The film's computer-generated imagery was created by Image Engine, the effects house who worked on Neil Blomkamp's 2009 film District 9 . [29] Computer Graphics were used to digitally create extensions on some of the practical animatronic effects, as well as for digital matte paintings and set extensions. [29] Alec Gillis stated that the advancement of animatronic technology since 1982 combined with digital effects allowed the effects team to expand upon the possible creature conceptions. [38] Matthijs van Heijningen preferred to use practical effects over computer imagery, as he believed actors give better performances when they have something physical to react to. [25] However, in post-release interviews, Alec Gillis revealed that while Amalgamated Dynamics creature designs for the film remained intact, most of their practical effects ended up being digitally replaced in post-production. The creation of Gillis's all-practical-effects independent horror film Harbinger Down was partially in response to this. [41] [42] Stunt men covered in fire-retardant gel were used in scenes when characters are set on fire. [35] The original Ennio Morricone score was reflected in the film's score, but it was initially reported that Morricone did not score the film, nor was his music from the 1982 version used. [34] However, his theme "Humanity (Part II)" appears in a bonus scene during the prequel's ending credits (indicating how it leads directly into the 1982 film).
The interior of the crashed alien spacecraft was created by production designer Sean Haworth. [35] To design the ship, Haworth had to recreate what little was shown of the spacecraft in the Carpenter film, then "fill the gaps" for what was not originally shown. Haworth and a team of approximately twelve others then created the inside of the ship as a several story-high interior set constructed mostly out of a combination of foam, plaster, fiberglass, and plywood. [35] The ship was designed specifically to look as if it were not made to accommodate humans, but rather alien creatures of different size and shape who could walk on any surface. [35] A section of the craft called the "pod room" was designed to imply the alien creatures manning it had collected specimens of different alien species from around the universe for a zoological expedition. [35] [43]
While the film was originally set for release in April, Universal Pictures changed the date to October 14, 2011, [44] to allow time for reshoots. The intention of the reshoots was to "enhance existing sequences or to make crystal clear a few story beats or to add punctuation marks to the film's feeling of dread." [45] On his Facebook page, Matthijs van Heijningen, Jr. claimed that the reshoots of the film included making an entirely different ending, referring to the original cut as the "Pilot Version" and the new cut as the "Tetris Version". In the original ending, Kate was to discover the original pilots of the spaceship which had all been killed by The Thing, which was an escaped specimen they had collected from another planet, implying that the ship was crashed in an attempt to kill the monster. "I liked that idea because it would be the Norwegian camp in space. Kate sees the pod room and one pod being broken, giving her the clues what happened. What didn't work was that she wanted to find Sander and stop the ship from taking off and still solve the mystery in the ship. These two energies were in conflict." [46]
Reception
On Rotten Tomatoes, the film has an approval rating of 35% based on 165 reviews, with an average rating of 5/10. The site's critical consensus reads, "It serves the bare serviceable minimum for a horror flick, but The Thing is all boo-scares and a slave to the far superior John Carpenter version." [49] On Metacritic, which assigns a weighted average rating to reviews, the film a score of 49 out of 100, based on 31 critics, indicating "mixed or average reviews". [50] In CinemaScore polls users gave the film a "B-" on an A+ to F scale. [51]
Michael Phillips of the Chicago Tribune gave the film a rating of 3 out of 4, saying "While I wish van Heijningen's Thing weren't quite so in lust with the '82 model, it works because it respects that basic premise; and it exhibits a little patience, doling out its ickiest, nastiest moments in ways that make them stick". [52] Andrew O'Hehir of Salon.com called it a "Loving prequel to a horror classic", saying "It's full of chills and thrills and isolated Antarctic atmosphere and terrific Hieronymus Bosch creature effects, and if it winks genially at the plot twists of Carpenter's film, it never feels even a little like some kind of inside joke." [53] James Berardinelli gave it three stars out of four, saying that it "offers a similar overall experience" to the 1982 film, but "without replicating styles and situations". [54] Christopher Orr of The Atlantic wrote that the narrative choices open to a prequel "exist on a spectrum from the unsurprising to the unfaithful", but van Heijningen "has managed this balancing act about as well as could be hoped" and although the line between homage and apery is a fine one, "in our age of steady knockoffs, retreads, and loosely branded money grabs, The Thing stands out as a competent entertainment, capably executed if not particularly inspired." [55] Josh Bell of Las Vegas Weekly rated the film three out of five stars and wrote, "Winstead makes for an appealing protagonist, and Kate is portrayed as competent without being thrust into some unlikely action-hero role." [56]
Kathleen Murphy of MSN Movies rated it two-and-a-half out of five stars, calling it "a subpar slasher movie tricked out with tired 'Ten Little Indians' tropes and rip-offs from both Carpenter and the Christian Nyby-Howard Hawks' 1951 version of the chilling tale that started it all, John W. Campbell, Jr.'s Who Goes There? ". [57] Jim Vejvoda of IGN Movies also rated the film two-and-a-half out of five, saying, "This incarnation of The Thing is much like the creature it depicts: An insidious, defective mimic of the real, er, thing. It's not an entirely lost cause, but it is a needless one." [58] Roger Ebert gave the film two and a half stars out of four, the same rating he gave the 1982 film. [59] In Patrick Sauriol of Coming Attractions' review, he states, "Stack it up against John Carpenter's version and it looks less shiny, but let's face it, if you’re that kind of Thing fan you’re going to go see the new movie anyway. Try and judge today's Thing on its own merits." [60]
