Notes from The Last Drive-In: S1E4
We’re back with Joe Bob again this week at The Last Drive-In, exclusively on Shudder. Have you been watching them live? If not, you should really consider doing so and hopping on Twitter to join in the hashtag conversation at #TheLastDriveIn. It’s an incredible communal experience, and if I can take a moment to toot my own horn, it’s great to get retweets and the like from Joe Bob, Darcy, and the crew at Shudder.
Madman (1982)
Opening Rant: Staten Island (it’s like New York’s New Jersey!)
Madman is a 1982 slasher film set at a camp on Staten Island. The campers and counselors alike are menaced by “Madman” Marz, a former resident of the area who murdered his wife and child and was set to hang until he escaped into the woods. After a campfire tale he is unwittingly summoned by one of the campers. The film is loosely based on the Cropsey legend of Staten Island. Madman was also in production alongside The Burning (1981) and necessitated rewrites so the two films would not be so similar.
Madman stars Galen Ross (of Dawn of the Dead fame, under the name Alexis Dubin), Tony Fish, Harriet Bass, and Paul Ehlers as “Madman” Marz and directed by Joe Giannone. The film is probably most known for the iconic VHS cover.
Joe Bob Briggs was fairly generous with Madman, awarding it 3 stars. The film is particularly notable for Galen Ross’s desire to not be linked to it and the fact that few of the cast and crew went on to do much else. That is, of course, contrasted by Paul Ehlers, “Madman” Marz himself, who was a huge horror fan and was bothered that Madman was never really featured in Fangoria. That being said, it certainly probably doesn’t help that we later see Joe Bob holding up a recent Fangoria cover featuring himself. Kind of rubbing it in there, Joe Bob. What comes across most in Joe Bob’s asides, though, is his love for the folks of Staten Island and his knowledge of the lives of #mozzarellahairgel folks. For example, Joe Bob’s insights into Richmond College, where a large group of the cast and crew came from, were also quite hilarious; statistically speaking, 98% of us reading now are likely to be accepted there.
That being said, Joe Bob also suggests that Madman is a great example of the Three Aristotelian Unities. I’m not going to dive too far into it here, but the key here is that Madman is a tight little film, unified in action (a massacre), location (a camp), and time (one night). For fun, read that link and see how the French debated endlessly about the specifics of these unities.
Madman does have a couple of memorable things going for it. The Moog synth score is pretty fun, and the theme is incredibly catchy. Sadly, most of the enjoyment of the movie comes from some of the more earnest attempts at something much better that fail. To invoke TVTropes we’ll just go with “narm.” Overall the film is only a 2 star affair. Most of the enjoyment of the film (especially if you are not already one of the huge fans of it) comes from watching with Joe Bob. This film is worth the price of admission alone for the wonderful Joe Bob sing-a-long to wrap up the half of the double-feature.
Glorious.
Best Line: “Google that fucker.” (Joe Bob’s motto, not part of the movie. There are no really good lines in the movie, to be honest.)
Wolf Guy (1975)
Opening Rant: Japanese monster films (Joe Bob talks about the lack of monsters in Japan).
The second film of the night was the 1975 supernatural cop and Yakuza film, Wolf Guy. Though to be more accurate, the full title is Wolf Guy: Enranged Lycanthrope. The film was loosely based on the Wolf Guy manga written by Kazumasa Hirai and illustrated by Hisashi Sakaguchi. The film stars Sonny Chiba (!!!) as Akira Inugami, a supernaturally powered cop who uses his abilities as the last survivor of the Wolf Clan to solve underworld crimes. The movie directed (and largely forgotten) by Kazuhiko Yamaguchi also stars Rikiya Yasuoka, Saburo Date, Koji Fujiyama, Tooru Hanada, Ryuji Hayami, Jiro Ibuki.
Of the two films of the week, Wolf Guy towers over Madman. Wolf Guy is a perfect film for The Last Drive-In with some amazingly totals, much like the Thanksgiving marathon’s Dead or Alive. I mean, 78 dead bodies, 26 breasts, and 27 gallons of blood definitely puts most films on The Last Drive-In to shame in sheer excess. Naturally, Joe Bob gave Wolf Guy the 4 star treatment.
Some of the great moments of the night included The Last Drive-In‘s art director Yuki (the Tokyo Cowboy) popping in to talk Japanese film with Joe Bob, including his experience working with Sonny Chiba. We were also treated to a special The Last Drive-In title-card featuring the show’s resident lizard, Ernie.
Naturally, what was most fascinating were the insights that were made into the production of such a fast and loose adaptation of a manga with a b-movie budget, including director Kazuhiko Yamaguchi’s apparent philosophy of “just keeping it moving” by throwing in fight scenes.
When it gets down to the Haunted MTL review, this film is loosely horror adjacent. There are no transformations into lupine form and the film is more of a Yakuza and martial arts story that was in the standard for Toei Studios. It is a notable and unique interpretation of the werewolf, however. Overall, the film is absolutely bonkers in the best way imaginable and is well worth watching. The score, for example, is particularly good, featuring some great 1970s sleazy sounds. Haunted MTL has to give Wolf Guy 3 and 1/2 stars, merely because the film was not quite enough of a horror film.
But damn, what an experience.
Best Line: “Right now I am a woman who wants an animal.”
Drive-In Totals
- 2 Black shirts with blue floral trim and an orange/slider bolo ties (Joe Bob wore the same getup on the Fangoria cover he displayed)
- 1 Darcy Cosplay (Synthetic Wolf Guy!)
- 1 Kaiju Rampage (Ernie messed up his little trailer and smashed the TV!)
- 1 Awkward Spinning in Hot Tub Sex(?) Sequence
- 1 Satisfying Neck Snap Foley Hit
- 1 Reading Rainbow connection (and won’t you be surprised!)
- 1 Wolf Mother-Wife
- 1 Hair Trigger Final Girl Shotgun Blast to a Counselor Corpse
- 2 Potential Future Films (The Burning and Willard)
- 3 Aristotelian Unities
- 4 Twitter Bans for Darcy (get your shit together, Jack)
- 9 Sonny Chiba Films in 1975 Alone
- 1060 dollars for Michael Barryman’s favorite wolf sanctuary raised by the signed figure auction from the Thanksgiving marathon
- Attempting to Dislodge an Ax but Making It Look Like Vigorous Tandem Genital Rubbing Fu
- Folk Song Fu
- Suckle Fu
- Synth Stings
- Sonny Chiba Stares
- Dive Bar Jokes
- Catholic/Jewish Jokes
- Sex Scene Face Maulings
As always, please share your thoughts with us about The Last Drive-In. Also, please check out our other great content here at Haunted MTL.
And, as always, beware the “Madman” Marz…
Movies n TV
The Formal Introduction of Evil’s “The Demon of Sex”
“The Demon of Sex” is the third episode of Evil’s season 3. The assessors investigate a new marriage that struggles with intimacy.
“The Demon of Sex” is the third episode of Evil’s season 3, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate a new marriage that struggles with intimacy. Kristen (Katja Herbers) takes control of her family. Ben (Aasif Mandvi) has an existential crisis after facing plumbing difficulties. Sheryl (Christine Lahti) struggles with the new work culture. Sister Andrea (Andrea Martin) battles a demon.
What I Like about “The Demon of Sex”
Ben usually seems underutilized as a character, especially in personal development, but season 3 works hard to rectify that issue. A skeptic’s disillusionment is an obvious choice for this type of character, but the writing and Aasif Mandvi’s performance drive the execution. It also adds another dynamic to his character referenced throughout the series, if rarely shown again, in the Science League.
“The Demon of Sex” is also a good episode for Sheryl, who struggles and triumphs in her new position. While her character trajectory teeters back and forth, “The Demon of Sex” shows what her development can look like when given the attention it deserves.
![Evil: Season Three [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTczODc2MjI5OA=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
![Evil: Season Three [Blu-Ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTczODc2MjI5OA=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
Last update on 2025-01-31 / Affiliate links / Images from Amazon Product Advertising API
“The Demon of Sex” also furthers the frenemy relationship between Kristen and Sister Andrea, providing ample material for both characters to explore. “The Demon of Sex” shows Kristen’s willingness to compromise and furthers Sister Andrea’s character flaws.
Leland (Michael Emerson) finally finds an attack that might work on Sister Andrea, beginning a plot thread to explore across the season. Commenting on this plot point might give credit to future episodes, but it’s a compelling example of Leland actually being devious and in control.
“The Demon of Sex” leans on Evil’s dark comedic tone, not intending to haunt the viewer but to entertain them. It dives further into the comical nature of corporate evil and marketing, showing a general shallowness in both arenas in which exploitation occurs. It’s dark, troubling, and entertaining without pulling its punches.
Tired Tropes and Triggers
In an episode titled “The Demon of Sex,” the titular demon seems to hold conflicting motives. First, it grows strong in the married couple’s abstinence, which suggests a different focus. But when acts become carnal, it’s the general kinkiness that makes the demon strong. Considering the couple talks about their troubles with a licensed therapist, it seems to evoke a general kink shame to the execution. However, the therapy also fails to resolve the underlying issues.
A slightly gory moment might unsettle some viewers, but it’s a single moment in an otherwise goreless episode.
What I Dislike about “The Demon of Sex”
As mentioned in a previous review, another demon seems to indicate a more direct concept of “sex,” while the motives of this demon seem more complex. It’s a minor point, but I can’t fathom why they didn’t connect this title with the more literal succubus that’s plagued this season already. Addressing that demon also seems like a more logical entry point as the audience sees what it’s been doing.
“The Demon of Sex” sets the groundwork for future plot points. While not a fault of the episode, it blends in the background, doing what it needs to and little more. I don’t mean to pretend this is a negative, but it doesn’t haunt the viewer like past or future episodes.
Final Thoughts
“The Demon of Sex” delivers but remains buried around more memorable episodes with more lasting power. It sets up key points for several characters and allows some to shine, but it doesn’t hold iconic moments to look back on. Ultimately, it functions as intended and keeps the audience eager for future developments.
(3 / 5)
Movies n TV
A Journey from Cosmic Horror to Shell Beach, or Dark City (1998)
Dark City (1998) is an R-rated Cosmic Horror film directed by Alex Proyas, often earning the fitting labels of tech noir.
Dark City (1998) is a Cosmic Horror film directed by Alex Proyas, though I’ve seen labels of tech noir, which certainly fits. This R-rated film stars Rufus Sewell, Kiefer Sutherland, Jennifer Connelly, and William Hurt. As of this review, Dark City is available to Kanopy and Amazon Prime Video subscribers, with additional purchase options on other services.
John Murdoch (Rufus Sewell) wakes up in a hotel bathtub, plagued with strange memories and amnesia. Chased by strangers, he follows his memories of Emma (Jennifer Connelly), avoiding those who hunt him in his desperate attempt to understand his situation. As mysterious forces hinder him, Dr. Daniel Schreber (Kiefer Sutherland) claims to know secrets that might help. Emma Murdock (Jennifer Connelly) haunts him.
What I Like about Dark City
Dark City earned 12 awards and an additional 19 nominations. These recognitions include the 1999 Saturn Award from the Academy of Science Fiction, Fantasy & Horror Films and the 1998 Bram Stoker Award. In short, Dark City earns a strong critical reception.
Part detective tale and part cosmic horror, Dark City lures its viewer in with its aesthetic and premise. I hesitate in saying that the mystery drives the film as the beginning narration does spill most of the finer points. However, Rufus Sewell delivers a performance of someone so overwhelmed and out of his element that the terror shows despite our knowledge. This film wants the audience to know the mystery, focusing on characters learning the truth to hook them.
![Dark City (Director's Cut) [Blu-ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGcFEya3plbXh2Umt3dVgxTk1NVFl3WHk1cWNHYz18MTczODc2MjI5OA=)
- Factory sealed DVD
- Rufus Sewell, William Hurt, Kiefer Sutherland (Actors)
- Alex Proyas (Director)
- Amazon Prime Video (Video on Demand)
- Rufus Sewell, William Hurt, Kiefer Sutherland (Actors)
- Alex Proyas (Director) – Alex Proyas (Writer) – Andrew Mason (Producer)
Last update on 2025-01-31 / Affiliate links / Images from Amazon Product Advertising API
Every performance nails its particular niche. From Kiefer Sutherland’s Dr. Schreber’s untrustworthy scientist to Jennifer Connelly’s mysterious Emma, each performance enriches the plot. This praise belongs to the entire cast, as many performances hold nuances that make sense after learning the entire truth.
Dark City maintains tension for most of its runtime, with the ending being an exception. That isn’t to say that the film fails to create a haunting story, but the focus shifts as the characters learn more about their situation. While both parts of the film accomplish their objectives, it does minimize the horror.
Tired Tropes and Triggers
At the backdrop of this story, there’s a serial killer murdering sex workers. It’s a familiar plotline, and Dark City doesn’t push against its familiarity in most aspects. However, the reasons behind this plot are somewhat more complex beyond simple shock value.
There was one notable voyeuristic nude scene, but the first naked body is Rufus Sewell’s John. Besides these moments, Dark City doesn’t lend itself to voyeurism. Instead, it prefers a largely sexless and detached perspective, which seems common among Lovecraftian-inspired properties.
What I Dislike about Dark City
As briefly mentioned, Dark City doesn’t deliver a traditional mystery because the beginning narration spoils most of that mystery. While this doesn’t inherently hinder the film, it’s a decision that doesn’t seem to make much sense. Most of the narration gets shown or told to the audience later. It’s as if the audience isn’t trusted to understand these elements. However, this film repeats this information or shows it with better execution, making the narration unnecessary.
Without divulging too much, the ending empowers a particular character that hinders the cosmic horror influences. It’s hard to believe the danger of cosmic forces when they prove to be your equal.
While not a fault of Dark City, The Matrix would focus more on empowering its main character through realizing some truth. Since The Matrix came out a year after this film, Dark City holds a stronger claim to the trend. However, the execution of this plot point goes to The Matrix. Despite the drastically different focus and genres, I can’t help but wonder how much The Matrix’s success has overshadowed this film’s lasting power.
Final Thoughts
Dark City creates a tense journey for audiences to follow, combining cosmic horror and tech noir to create something unique. It’s a cult classic that earned an award after its digital re-release because few films provide its unique mix of genres. If you crave a dark mystery where humanity must adapt to overcome the impossible with a flare of cosmic horror, this film might satisfy your craving.
(4 / 5)
Episode four of Goosebumps The Vanishing is named after one of my least favorite of the original Goosebumps book series. I’m clearly in the minority since there are four Monster Blood books. And I’m sad to say that this episode very much lived down to the expectations the book set.
The story
We begin this episode with a flashback. Cece is excited to go to her debate group that Summer. She even brags to her fellow Type A teenage girlfriends. Then, she doesn’t get in.
That’s right, she’s been lying to everyone about going to debate class every day.
However, she still managed to get an interview for a college application. Too bad she gets sick at the meeting. She finds herself back at her mother’s apartment, throwing up in the sink. And if that wasn’t bad enough, the thing she throws up pulls itself out of the sink and tries to attack her.
What worked
I’m not going to lie, this was not a boring episode. Even scenes that were conversations among teen girls in a coffee shop were full of action. At no point did it struggle to keep my attention.
I was also pleased by how the Monster Blood creature looked. Or, whatever this thing is. The way it moved was eerie. The way the characters interacted with it was seamless. This effect was quite well done.
What didn’t work
Unfortunately, that’s where my praise for this episode ends. To start with, the monster still doesn’t make a lot of sense to me. I’ve complained about this in the last few episodes, so I won’t spend a lot of time on this. But it still does not make sense that this sentient spore went from possessing a person to a car to a cup, to then being puked up into its own body. A body made of blood, puke and kombucha.
I also complained last episode about Cece’s character. She was too perfect. And, as though this episode heard me, we now know that she was never as perfect as she was trying to seem.
However, as far as dark secrets for perfect Type A teens go, this one was weak and cliche. She’s lying to everyone about getting into some fancy debate team. And who hasn’t seen this? Who hasn’t seen this sort of thing before?
While there is nothing new under the sun, there are good ways to redo a cliche. And then, there’s this. It brought nothing new to the table.
This same complaint can be applied to the big conflict of this episode. As of now, we have three groups fighting the same monster from different levels. Frankie, Cece and Devin are being chased by the Monster Blood. Alex and CJ are aware something is wrong, but so far they only think it involves the car. And Anthony is chasing after the plants in the sewer. Like the proverbial blind people with the elephant, they all have a piece of the puzzle but need to put it together to get the whole picture. But everyone’s too busy running around to take five minutes to explain things to somebody else.
- Item #:NTS503520
- ISBN13:9780545035200
- Format:Paperback Book
Last update on 2025-01-31 / Affiliate links / Images from Amazon Product Advertising API
What a boring motif. People refusing to talk to each other and explain things is the storyline for every single romantic comedy ever. And it’s never, ever, clever.
Overall, this season is struggling. The characters don’t feel genuine, the story is cliche, and the rules of the world don’t make sense. While it’s not boring, it is hard to care about anything that’s happening aside from it being fast-paced and fun to watch. So while it might be fairly entertaining, it’s not a show I’m likely to remember fondly or revisit. And we’re already halfway through the season. So if Goosebumps is going to prove me wrong, it had better act fast.
(2.5 / 5)
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