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The Fog

The Fog

Horror · 1980

Strange things begin to occur as a tiny California coastal town prepares to commemorate its centenary. Inanimate objects spring eerily to life; Rev. Malone stumbles upon a dark secret about the town's founding; radio announcer Stevie witnesses a mystical fire; and hitchhiker Elizabeth discovers the mutilated corpse of a fisherman. Then a mysterious iridescent fog descends upon the village, and more people start to die.

Movie details

The Fog

“What you can't see won't hurt you...it'll kill you!”

1980 Horror 1h 30m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Strange things begin to occur as a tiny California coastal town prepares to commemorate its centenary. Inanimate objects spring eerily to life; Rev. Malone stumbles upon a dark secret about the town's founding; radio announcer Stevie witnesses a mystical fire; and hitchhiker Elizabeth discovers the mutilated corpse of a fisherman. Then a mysterious iridescent fog descends upon the village, and more people start to die.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Fog?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

John Carpenter

Written by

John Carpenter · Debra Hill

Adrienne Barbeau

Adrienne Barbeau

Stevie Wayne

Tom Atkins

Tom Atkins

Nick Castle

Jamie Lee Curtis

Jamie Lee Curtis

Elizabeth Solley

Hal Holbrook

Hal Holbrook

Father Malone

Janet Leigh

Janet Leigh

Kathy Williams

Nancy Kyes

Nancy Kyes

Sandy Fadel

T

Ty Mitchell

Andy

Court is in session

Put The Fog on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.