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Welcome back to the Drive-In. This week Joe Bob joked about the lack of guests on the show and how this weekend’s feature would be received. Fans were fortunate to have an absolutely stacked back-to-back two weeks of fun guests, but there is something said to just having Joe Bob, Darcy, and the always vital Mangled Dick Expert Felissa Rose with us for the night. It’s another solid showing at The Last Drive-In this week.

This time we got two movies full of color, weirdness, and amazing music: Brain Damage (1988) and Deep Red (1975).

So, let’s dive in, shall we?

Brain Damage (1988)

Opening Rant: Joe Bob is not an Instagram fan.

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So, Frank Henenlotter’s Brain Damage is a pretty special movie. The movie is at least partially connected to the first marathon’s Basket Case (1982) by a fun cameo, but it is little more than a silly cameo. One of Henenlotter’s other films, Frankenhooker (1990), would be a nice future film for The Last Drive-In. Brain Damage itself would go on to add two sequels in 1990 and 1991.

The main thing about Brain Damage is that it is unbelievably fun. It’s a strange film that deals with themes of addiction by creating a golden-voiced brain slug monster that serves as the drug epidemic metaphor. Shockingly, it works well because it believes in itself enough to be goofy and still commit to the strange morality of it all.

It’s not a scary film, however. Sure, it is gory and hilarious, but the presence of a talking drug slug, whose origins are explained in an absurdly long backstory-bomb, just presents no real frights beyond vague feelings of anxiety around drug addition. The movie is cheeseballs, basically, but that’s fine because it is so entertaining. I mean, the movie plays its goofy card pretty blatantly by bringing in an (uncredited) John Zacherle as Aylmer, the mind-bending brain parasite.

Joe Bob gave this film a full 4 stars and I am inclined to agree that it is a very quality movie. The Aylmer puppet is a huge jump above Belial from Basket Case, and even then, the puppet is just goofy enough to let you buy into the movie in a way that a CGI Aylmer never could. The insights into the production provided by our venerable host were as great as ever, of course. In particular, though, the fourth break chronicles the origins of the tune of Aylmer’s little musical number. It proved appropriately historical, insightful, and slightly out of place like a good Joe Bob deep-dive, given the feature was about a drug slug. Another interesting fact dropped by Briggs, however, was the revelation of a “shooting subway” in NYC for film-production.

Brain Damage continues Joe Bob’s 4-star spoils this season on The Last Drive-In and it is definitely one of those films where I’d agree with him on a higher score. The film is not perfect but the movie is just too ridiculous and fun. I plan on re-watching it a couple more times as soon as I can. It’s that good. Brain Damage is a 5 Cthulhu film.

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5 out of 5 stars (5 / 5)

Best Line: “Yeah, but when it comes to blood in my underwear, I want to know how it got there.” – Brian to Aylmer

The sound mixing here is on point, fitting, as it is all ear trauma.

Deep Red (1975)

Opening Rant: Joe Bob talks the Getty Fire in LA.

Dario Argento’s Deep Red (or Profundo rosso for you Giallo nerds) is one of those huge moments in Giallo film that has become legendary and is perhaps held up on a pedestal of sorts. When held at a distance like that, as some sort of art, it tends to have imperfections overlooked. So much has been written about Argento’s film. Even what constitutes the real film is up for debate and is storied. After all, there are so many different versions floating around out there and the film has been hacked up more than some Giallo women.

There is so much weight attached to Deep Red that it may come off as sacrilege among some of the horror community to label it as a fine movie. It is definitely up there in Argento’s creative works. The film is entertaining and stylish. But it’s also a significantly flawed piece. It’s very much style over substance. I liken it to an extended high-art music video, and given the origins of the band Goblin from this film, that seems fitting. Sequences are not so much organic expressions of the narrative but rather cool moments set to Italian prog-rock, albeit some amazing prog-rock. It’s got pointlessly strange setpieces inconsistent with the actual story being told.

This is very much a movie to have to play in the background of a party, or just maybe sitting back with something to drink with the volume way up for that amazing Goblin score. This is not a movie for a satisfying story. It’s just not good. It’s fine.

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I am a Dario Argento fan, one of those Argentophiles that has written papers on some of his work. I totally understand how exhausting people like me can be. Joe Bob really sort of tore into Argento and his fans throughout the feature, which makes it puzzling that he awarded Deep Red a full 4 stars. This is where I feel I need to diverge from our Drive-In scholar. I don’t feel Deep Red is that great, nor do I feel Joe Bob Briggs’ assessment of it felt entirely truthful. Part of his assessment, at least to me, felt as though it was the equivalent of sugar-coating the bitter pill. Perhaps giving the movie the full Drive-In tally is symbolic, recognizing influence and legacy, but giving him some room to be honest about how up-their-own-asses some Argento fans can be regarding the movie.

The bits poking fun at the scholarship surrounding the movie throughout the feature were equally hilarious and pointed. As someone who has been up-his-own-ass about Argento’s work I felt a slight sting, of course; pointed glances from my girlfriend didn’t help. But I also really recognized the truth there. Just as there are Argento’s acolytes who write endlessly about Deep Red, I am one whose tastes align more toward Suspiria. I also recognize that I am a bit crazy about Suspiria, so the ego check provided by Briggs was welcome.

However, I firmly believe that diegetic sound has its merits in the discussion of film and no amount of teasing from the redneck vampire is going to change that.

Largely nonsensical and aesthetically stunning, Deep Red is a tough review, especially paired with a movie like Brain Damage that is itself largely nonsensical and aesthetically stunning. What separates the two is that one has an actual, thought out story between cool moments, and the other is just cool moments.

I can really only give Deep Red 3 and 1/2 Cthulhus out of 5.

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3.5 out of 5 stars (3.5 / 5)

Best Line: “Great! Really, that’s good. Very good. Maybe a bit too good… Too clean. Yes, too precise. Too… formal. It should be more trashy. See what I mean? Remember that this sort of jazz came out of the brothels.” – Marcus, the pretentious bitch-boy.

Thanks, I hate it.

HMTL Drive-In Totals

Shudder provides us with a handy recap of the totals for the two movies of the night.

But, what about our totals for the week?

  • 2 weeks of NYC subway scenes
  • 2 dirty bathrooms
  • 7 instances of brain listed in the drive-in totals
  • 7-million instances of “brain” being used in describing Brain Damage
  • 11 seconds (when the pre-show countdown ended and then relaunched at this point)
  • Surprise Eye
  • Surprise Robot Doll
  • Truck-Dragging Fu
  • Brat Smacking Fu
  • Drywall Scrapping Fu
  • Gratuitous Blue, Green, and Red
  • Gratuitous Goblin
  • Dick Mangling Expertise (thanks Felissa!)
  • History Lecturing
  • Ear Popping
  • Big Band Prostelyzing
  • Scholar Bashing
  • Cum Tripping
  • Door Bouncing
  • Butcher Joking
  • Polish Joking
  • Yuki Sighting
  • Darcy Jailing
  • Darcy Cosplay: Dungeon Girl
  • Silver Bolo Award: Dead Meat
Darcy has the weirdest boner.

Episode Score

Any Drive-In night is a good night, and this was very much a great, standard showing of the show. Perhaps relatively subdued in comparison to the first two nights with the amount of stuff that was going on, but those are exceptions and not the norm.

Tonight’s pairing was very interesting and I’d love to know more about why these movies were paired the way they were. It wasn’t as outlandish as last week’s double-feature, but there is something about seeing these two movies together that seems to be making a statement. 4 out of 5 stars (4 / 5)

Hey, see you next week during the double-feature, yes? Be sure to follow us on Twitter. I take it over on Friday nights during The Last Drive-In showing.

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Movies n TV

Fallout, The Ghouls

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Episode four of Amazon Prime’s Fallout was a great one for character development. It was also great because one of my personal favorite actors was involved.

Let’s discuss.

The story

This episode’s story revolved largely around Lucy and The Ghoul. He’s still dragging her about on a rope, but we aren’t sure why. While she can track the Head, she certainly hasn’t shared that information with the Ghoul.

What he wants her for soon becomes clear, when he barters her for vials of the medication that keeps him from losing himself to the ghoul illness.

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Ella Purnell in Fallout.

At first, Lucy thinks this is a step up. She’s taken by a robot surgeon named Snip Snip to get a new thumb. Since, you know, The Ghoul shot her thumb off.

However, after stitching a new thumb on, Snip Snip takes her to his masters. Who then say they want him to cut her up for her organs.

Lucy manages to escape and even frees the other people trapped by these organ brokers. In doing so, she comes into the possession of many, many of those vials that The Ghoul needs so desperately.

Meanwhile, Norm is starting to suspect that all is not what it should be in Vault 33. While the rest of the vault is preparing to elect a new overseer, he takes Chet and sneaks off to Vault 32. There, they find some horrific sights. Long dead bodies, next to messages scrawled in blood. There are especially bodies around the door that leads to Vault 31, where someone has written We Know What’s in There on the wall.

Of course, we don’t know what’s in there. But I’m sure we’re going to find out.

Moises Arias and Dave Register in Fallout.

Norm continues to dig, checking for information on the old Overseer’s computer. And he finds that the door to Vault 32 was opened by a Pip-Boy. To be specific, it was a Pip-Boy owned by Norm and Lucy’s mother.

I’m sure that won’t be relevant later.

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What worked

The more I see of this season, the more I like Lucy. She is growing and evolving as a person, just like Wilzig told her she would have to do. She is becoming harder. But her kindness and values haven’t changed yet. She is still a good person. I love that.

I also love the dark, creepy storyline with Norm. I love how serious he is, especially when compared to the rest of his community. I especially love that, even as emotionally disturbed he is by what he’s learning, he seems passionate. And from what we’ve seen of this character, this is possibly the first thing he’s felt passionate about his entire life. I am impressed with the writing and acting that have allowed us to see his lack of passion with minimal focus. He is a fun, well-written character.

Finally, I’d like to shine the spotlight on Matt Berry. He is a delightful actor known for What We Do in the Shadows and IT Crowd. And he is playing the remarkably funny role of Snip Snip, the robot surgeon. His voice lends an extra level of humor to an already funny premise. This was another example of the great casting we’ve seen so far on Fallout.

In the end, this was a great episode from all points. It was fun, heartfelt, and dark. In short, I have no notes. I’m only excited to see what happens in the next episode. 4 out of 5 stars (4 / 5)

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American Horror Story Delicate, The Auteur

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The finale of American Horror Story Delicate aired last night. And if you were watching along with us on Threads, then you already know that it didn’t live up to any of my expectations.

Let’s discuss.

The story

We begin with Anna being ushered off stage and into an ambulance. Dex is there because Siobhan called him.

Once in the ambulance, though, the blood starts to spill. And it’s not just Anna’s. She soon finds herself in the clutches of the coven, giving birth in the most anxiety-inducing place possible. And when the baby is born, he’s taken away at once.

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Because that’s the agreement that Anna made, without fully realizing what she was agreeing to.

If Anna’s going to get her baby back, she’s going to have to make another sacrifice. She is going to have to join the coven herself. Is she strong enough to do it? Is she strong enough to raise a monster?

Leslie Grossman, Emma Roberts, Annabelle Dexter-Jones, Ashlie Atkinson, Michaela Jaé (MJ) Rodriguez, Billie Lourd and Juliana Canfield in American Horror Story Delicate.

What worked

This episode did have some fun elements. As a practicing witch myself, I appreciate the addition of Hestia in a positive light. Especially when this season was so focused on motherhood, womanhood, and sisterhood, Hestia was a lovely goddess to include.

For those who don’t know, Hestia is a goddess of the home and hearth, but not a maternal goddess. She was, in fact, a virgin goddess. So Adeline’s devotion to her made sense in a real-world witchcraft way. Adeline was supposed to be a symbol of female love and support. Including Hestia in this made that crystal clear.

This was made most clear with the behavior of Siobhan. She was a perfect example of a toxic person who uses sisterhood to use and manipulate others. This can be seen clearly in the flashback that begins this episode. We see Siobhan show kindness to Anna, who she wants to use while being cruel to the woman who shared her story at the start of the meeting. For Siobhan, kindness is a currency she spends to get something. And that is clear.

What didn’t work

Sadly, those two elements weren’t enough to save this episode. My first concern is that this ending had more holes in it than Swiss cheese.

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This wasn’t just a matter of having questions left after the ending. These were elements that we should have seen and just didn’t. Why were the witches diluting and working with blood near the end of the episode? Why didn’t Dex Senior get what was coming to him? What the hell was with those pointed green heels? My largest question, however, is this.

Did Anna imagine all of this? Did any of it happen? We don’t know. Consider the ending. I don’t want to spoil too much of this, so I’ll only point out Anna’s gown. It’s bloody in one scene and newly clean the next. This is only the example I can share without spoiling the ending. But we have no proof that any of these things happened to her.

While it’s fine to leave some questions up to the viewer, there were too many here. Rather than feeling mysterious, it just felt incomplete. And seeing as how this episode was much shorter than a standard one, this could have easily been corrected.

I would also like to hold some space for how this season ruined the good message of the book Delicate Condition. This novel was bloody, gory, and disturbing. But it also had a beautiful message about sisterhood, and women supporting women through motherhood, career choices, and life in general. There is so much pure, sisterly love in that book.

This is entirely missing from this season. It’s often turned on its head, with women betraying each other for their own selfish desires. And honestly, I hated that.

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Leslie Grossman, Kim Kardashian and  Billie Lourd in American Horror Story Delicate.

Finally, this season finale is another example of an ending ruining a good season. AHS Delicate wasn’t without its charm. Some episodes were great fun. There were elements that I truly enjoyed as a horror fan, a witch and a woman. But this ending just soured everything good about the season. It spoiled all of the enjoyment I had. Much like Sabrina, Dexter, and the podcast Dolores Roach, the ending ruined everything that came before it.

In the end, this finale was disappointing. It didn’t deliver on its promises, it did a disservice to the source material, and it was poorly executed. This series is more than capable of better. Delicate Condition, the novel, deserved a better interpretation.

However, as a long-time fan, I can honestly say that in twelve years of content, I have genuinely disliked a season and a half of American Horror Story. This one, and the second half of Double Feature. So while AHS Delicate was a disappointment, I am looking forward to season thirteen. In the meantime, I’m going to rewatch Coven and look forward to better stories to come. 2 out of 5 stars (2 / 5)

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Fallout, The Head

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Episode three of Amazon Prime’s Fallout continued the themes we’ve seen so far, with an added twist. With comedy and gore already blending, the story has added an air of tragic history for one of its least cuddly characters.

Let’s discuss.

The story

Walton Goggins in Fallout.

Our story starts with a flashback to before the bombs dropped. We see Coop, filming a movie. His wife is on set as well, and their adorable daughter. Coop has a comfortable life with a family he loves.

Isn’t that just a knife in the heart?

Back in the present, Lucy is traveling through the wastelands with the head of Wilzig. And she’s doing so with the same fear and joy that we’ve seen from her so far. Until that is, she runs into a Gulper. And after eating a defenseless deer, it swallowed up the head.

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Eventually, The Ghoul catches up with Lucy and decides to capture her. After using her as bait, he decides to drag her along with him.

Meanwhile, Maximus gets a message from the Brotherhood of Steel. Rather than coming clean, he claims to be Knight Titus and is accidentally sent a new Squire. That squire is Thaddeus, one of Maximus’s bullies from the base. And Maximus wastes no time in taking some sweet, sweet revenge.

Finally, we return to Vault 33. The vault is healing from the Raider attack and the loss of Lucy. Norm and Chet are being punished for letting Lucy leave, by being fired from their jobs. This throws Chet because he had a cool job.

Norm, on the other hand, didn’t like his job. He didn’t like any job. So, since this is the only way anyone gets punishments in the vault, he’s given the task of feeding the Raiders.

And talking to the Raiders was maybe not a healthy thing for Norm to be doing. He might learn something he didn’t want to know.

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What worked

The first thing I have to talk about is the massive creature called The Gulper.

This thing was fascinating. It was voracious, fast, and horrifying to look like. It was like a giant axolotl from Hell, with human fingers lining its whole mouth and throat. Why did it need fingers lining its mouth and throat? The better to drag someone down its throat and into its stomach. And the better to drag itself into my nightmares. This creature was well done.

The Gulper from Fallout.

On the flip side of this, I love the fact that the people of Vault 33 are so kind. They’re so willing to forgive, willing to care for their fellow man even when their fellow man is trying to kill them.

I don’t trust it, to be clear. But the perceived kindness from these people is uplifting. And I’m sure it will make whatever is going to eventually happen to them all the worse.

Of course, I can’t talk about the goodness of the vault dwellers without talking about the absolute horribleness of The Ghoul. The Ghoul is not a good person. He is cruel, and selfish, and clearly dislikes Lucy for some reason we do not yet know, and is probably not her fault.

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But we kind of understand how he got that way, don’t we? During the flashbacks, we see that he’s lost his wife and daughter. We also see that he was used as a mascot for the very company that created the vaults. And, while we don’t have any concrete proof yet, we can probably guess that these are not the good guys. Even if we haven’t played the games, anyone who’s even slightly genre-savvy can already guess that.

Which is the last thing I want to bring up here.

We know something stinks with the vaults. Something beyond the obvious issues of wealth disparities and the people left outside to die while those who could afford a Vault spot were saved. Something is rotten with the vaults, we all know this. What we don’t know is what form this rot will take.

Not yet.

What didn’t work

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Now, I wish I could say this was a perfect episode. But sadly, it wasn’t. And my biggest issue with the episode is with the character Maximus.

Now, I love Maximus. He wants to do good things in the world. He’s the underdog, and who doesn’t love that? He’s honorable and believes in the organization he belongs to.

I don’t love that he cannot do anything right. It feels like he wins fights by falling over and tripping into succeeding. And this character deserves so much more than that. Can we please, just once, see him be good at something or make a sound decision?

All that being said, this was still a fun episode. It was funny and bright, with an ominous feel and a horrific finger-ridden monster. I had a great time with it.

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4 out of 5 stars (4 / 5)

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