In terms of the recording, the music sounds a little unfinished, and equalization isn't the best, though hiss has been reduced to an inaudible level. The arpeggiated theme from Halloween is barely disguised in terms of musical structure (he builds on the same structure) while the forceful percussion-based pulse of the chase-type music is straight out of Escape From New York. As a result, you can hear a variety of familiar elements in here, from the high-pitched synthesizers designed to make you quiver to revised score elements from Escape From New York, Halloween, and The Fog. Rather than having the time to craft something new, Carpenter reached back into the bag and pulled up variations on old themes. Christine, though, suffers from a very rushed situation. As with the best of Carpenter's work, it's enough to haunt your dreams for a few days - a property shared by the scores for Halloween and The Fog (both on Varese Sarabande). As it is, this Tangerine Dream-influenced, mechanically pounding number is probably the best thing in the score, highly visual, threatening, and relentless.

The original soundtrack released from the movie was a brief affair indeed, offering up a small selection of rock & roll tunes used in the movie, plus a short selection ('Christine Attacks,' here with the subtitle 'Plymouth Fury') from Carpenter's score. Rather than bypassing his usual methods, as he did with The Thing, Carpenter once again chose to do the score.

Christine, based on Stephen King's novel about an unusual kind of car repossession, was taken by John Carpenter from book to screen in a blazingly short time.

Christine stephen king review