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Silent Predators received generally unfavorable reviews from critics, who criticized almost every aspect of the movie. Michael Speier of Variety called the film "absurdly unrealistic and dramatically inept", stating: "'Predators' is visually unspectacular, and the scare tactics are buried beneath Michael Tavera's heavy-handed score and some poorly realized jump-cut editing from Tod Feuerman".
Silent Predators: 1999 No Yes No No Television film [35] [36] Ghosts of Mars: 2001 Yes Yes No Yes [37] The Ward: 2010 Yes No No No [38] [39] Producer and/or composer only
Brimstone as Jocelyn Paige (1 episode, 1999; Charmed as Helena Statler (1 episode, 1999) Silent Predators (1999) as Mandy Stratford; Once and Again as Ronnie (2 episodes, 2000-2001) The Perfect Wife (2001) as Leah Tyman/Liza Steward; Boomtown as Cherie Hechler (1 episode, 2002) Port Charles as Kate Reynolds (2002-2003) S.W.A.T. (2003) as Mrs ...
Carpenter pictured in North Hollywood, 2010. The following is a list of unproduced John Carpenter projects in roughly chronological order. During a career that has spanned over 40 years, John Carpenter has worked on projects which never progressed beyond the pre-production stage.
Harry Robinson Hamlin (born October 30, 1951) is an American actor, author, and entrepreneur. He is best known for his roles as Perseus in the 1981 fantasy film Clash of the Titans, a role he reprised in 2007's Santa Monica Studio video game God of War II, and as Michael Kuzak in the legal drama series L.A. Law, for which he received three Golden Globe nominations.
Daniel Davies is a British-American composer, musician and songwriter. He is best known for his contributions to horror director John Carpenter's Lost Themes and Lost Themes II albums, and for his work with rock bands Year Long Disaster, Karma to Burn, and CKY.
A Quiet Place: Day One writer/director Michael Sarnoski has explained why Frodo the cat doesn't hiss or make a noise during the horror prequel.
Big Trouble in Little China is a soundtrack produced by John Carpenter for the film of the same name.. With the soundtrack, Carpenter wanted to avoid the usual clichés finding that “other scores for American movies about Chinese characters are basically rinky tink, chop suey music.