Notes from The Last Drive-In: S2E2
So, in the span of four hours, I watched Maniac and Heathers and I absolutely loved it. This week’s films come from that Last Drive-In impulse of pairing tonally different movies together. This is similar to the premiere and I hope it is a sign to come for the rest of the season: The Last Drive-In is at its best when it is offbeat.
As I did last week, I encourage you to follow the Haunted MTL Twitter feed and join in on the fun during the live stream. We’d love to have you.
Maniac (1980)
Opening Rant: Joe Bob talked a lot about similarities between Maniac and Joker, but transition more toward the panic around the clown.
We get more sleazy seventies this week with Maniac. Yes, the movie came out in 1980, but the work of making it and the whole aesthetic is pure 1970s. The movie is incredibly fun and grimy and has an absolutely legendary performance from Actor’s Actor Joe Spinell. Spinell is absolutely magnetic as Frank Zito, one of the great slasher characters who is also incredibly charming. The fact this absolute, well, maniac, is at all sympathetic is an incredible feat, especially given some of those really creepy elements of the character. You’ll see.
William Lustig’s direction is strong and the film and the film absolutely soars during the sequence where Frank is stalking a woman in the subway. This scene is where the movie absolutely clicks and the paranoia and anxiety of this chase is fantastic. The scene is only second to a great photography scene where viewers have the pleasure of watching Spinell morph from charming-Frank to monster-Frank. It’s masterful. Too bad the ending (not the art-house death-scene, but rather the final shot) kind of cheapens the overall quality of the movie.
Joe Bob has a lot of praise for the film, but I am less enamored of it. Joe Bob awarded the film the full 4-star treatment. The film is good, do not get me wrong. It can be creepy, the effects are fun, and the killer is fascinating. Hell, the movie has the big daddy of gore effects, Tom Savini. Speaking of whom, having Savini on The Last Drive-In is an all-time-great get for the show. Savini was affable, charming, and had many great stories. He was like the world’s coolest uncle and it was fun to hear he and Joe Bob swap insider knowledge of film. The conversation surrounding Maniac’s infamous “exploding head” is definitely going to be posted on YouTube in the coming week.
Ultimately, though, I found Maniac kind of tame. Yet, something about the film just doesn’t work for me. For as much as Maniac gets for being controversial, I don’t find it all that intense. It’s fine. The film works, very well even, yet it’s something that I feel I could just pop on for fun than anything that would necessarily creep me out. It just does not have the same effect on me as it does others, but that’s okay. It’d be a while since I saw it, but compared to Blood Sucking Freaks it was just kind of… cozy. And even then, Blood Sucking Freaks didn’t really cross any lines for me, either.
Basically, what I am trying to say is… don’t hang out with me.
I thought about it a lot, but when it comes down to it I could only give Maniac 3 and 1/2 Cthulhus. It’s a fun movie, but the eye-rolling ending just burns away so much goodwill I have for it. Had the ending not made me roll my eyes I’d have given it an extra half Cthulhu.
(3.5 / 5)
Best Line: “I know, but to me things change. People die. But in a picture or painting, they’re yours forever.” – Frank Zito
Heathers (1989)
Opening Rant: Joe Bob takes on San Francisco.
We get to the best movie of the night after a brief break. Heathers is a pitch-black high school comedy, with the ultimate irony being that it’s not really the kind of Drive-In movie that one expects from a Joe Bob Briggs selection. But that’s okay. One of my favorite moments of season one was the artsy The Changeling, and it’s nice to have something a little outside the norm of the show. A couple of these films a season are welcomed.
As for Heathers, its not really a horror film, though it makes several horrific statements about teenagers, society, and high school. The situations presented are awful and there is no way in hell to make Heathers today given America’s continuous trauma of mass-gun violence in schools. Yet, as screwed up a world as Heathers presents, we have to laugh because it also feels just so true to life.
Heathers made Winona Ryder a star, despite claims to the contrary by Beetlejuice fans. Sure, perhaps Beetlejuice was a mainstream hit, but Heathers was a bold choice of role that put her on the radar of darker film fans. Of course, this is all opinion, but it’s hard not to see how iconic Winona Ryder comes across in the film in so many scenes. She obviously was not alone, however, and her work was balanced by the absolutely manic energy of Christian Slater who seems to be channeling the spirit of Jack Nicholson. Slater’s JD might be one of the best Holden Caufieldesque shitheads committed to film and to watch the “bad boy” facade wash away into the pathetic, ineffectual dweeb he ends up at the end of the film is so, so satisfying. It’s explosive, even.
Really, though, Heathers is one of those writerly movies. It’s oft-quoted, it’s marveled at for its structure, and it is a tight movie. Its incredible work by a first-time screenwriter in Daniel Waters. He absolutely nails the teenage voice that would continue to thrive in future teen films. A lot is said about John Hughes having influenced film regarding teenage characters. Waters is right up there with him, full stop. If the film has a weak spot, it might be Michael Lehman’s direction; it’s not bad, but barring a couple of scenes it doesn’t really stand out either. Lehman would go on to direct a lot of television.
Joe Bob’s assessment of the film comes off as perhaps the biggest surprise of the night. Of course, it’s not odd that Joe Bob would like Heathers. It’s a good movie. But the fact Joe Bob gave Heathers the full 4-star treatment is very interesting, especially given his usual half-star deduction for a lack of breast. The overall exuberance of the film carried throughout the host segments, however, and his insights into the cast were particularly welcome. This was especially interesting when he was discussing Shannen Doherty and her experience on the set, but his bit on the insanity that was Christian Slater was also quite fun.
I really don’t throw the word “perfect” out there a whole lot, and usually, when I do it is usually irony. I can safely say that, without irony, Heathers is a perfect teen-centric movie. It’s not at all flawless and in today’s climate elements of it are fairly antiquated. But none of that matters because it is darkly funny, well-plotted, and probably is one of the better representations of high school out there. With that said, it only makes sense that I’d give Heathers the Five Cthulhus treatment.
(5 / 5)
Best Line: “My son’s a homosexual, and I love him. I love my dead gay son.” – Kurt’s Father, at the Funeral.
HMTL Drive-In Totals
As usual, we start with the official Drive-In Totals in handy tweet form!
Here are our totals for this week!
- $30,000 porn dollars
- 6 Scathing Review Excerpts
- 7 Beer Cans
- 2 Darcy Cosplays (Frank Zito and
- 1 Darcy Imprisonment
- 1 Yuki Sighting
- 250 Page First Draft
- Stalking Fu
- Dwarf Porn Discussion Fu
- Vomit Fu
- Croquet Fu
- Gratuitous Flopsweat
- Gratuitous Cliffsnotes
- Gratuitous Disco
- Joe Bob Cosplaying
- Texas Joking
- Chinese Joking
- “That Guy Award” for Glenn Shadix
- “Silver Bolo Award” for Cousin Barnabas of the Collinsport Historical Society
Episode Score
The best Drive-In pairings tend to be the most bonkers. Nobody in a sound state of mind would pair Maniac and Heathers, but here we are, and we’re all the better for it. Again, another solid episode, but that’s pretty much the standard. The minute the show has a bad episode then we’re all in trouble. That begs the question though, what would a bad episode be?
(4.5 / 5)
One a final note, we’re trying to get Joe Bob and Darcy verified on Twitter. Join us, won’t you?
Movies n TV
The Root of All Evil, or “The Demon of Money”
The assessors explore the vile evil of stock trading in “The Demon of Money,” the ninth episode of season 3.
“The Demon of Money” is the ninth episode of season 3 of Evil, 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 explore the vile evil of stock trading. Dr. Boggs (Kurt Fuller) gets a positive review for his first draft. Grace Ling (Li Jun Li) struggles to adjust to her new reality. Leland (Michael Emerson) takes matters into his own hands. Monsignor (Boris McGiver) does what he must to do good.
What I Like about “The Demon of Money”
The investigation of DF’s stock provides a strange but enthralling mystery, accurately pointed out as similar to The Ring by Ben. It’s an unsettling and tension-inducing procedural plot to connect “The Demon of Money” together.
Michael Emerson’s Leland balances a genuinely horrifying character with Evil’s campier execution to deliver a haunting performance. This season seems focused on restructuring Leland’s transformation as the series’ key villain, forcing him to balance against other potential threats.
I initially struggled to understand Kristen’s distrust of Dr. Boggs, uncertain of what finally convinced Kristen. “The Demon of Money” clears up this confusion completely after revealing his book. While it’s not directly shown that Kristen read the book, the evidence suggests this is the case. I won’t reveal why it’s so concerning, but I love that Evil doesn’t beat the strangeness into the viewer, trusting them to catch on.
![Evil: Season Three [Blu-Ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQ0OTM3NQ=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
![Evil: Season Three [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQ0OTM3NQ=)
- 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
Monsignor delivers a moment of action for a character who often defines inaction. It’s an intense moment to see and a pleasant development for a character who plays a key role in the series. It also incentivizes a returning character.
Li Jun Li also pushes the boundaries of Grace Ling, possibly earning the right to claim this episode as her own. As a prophet-esque character, there’s often an instinct to dive into the mystic wisdom, but Grace seems burdened by her gifts and the pressure placed on her.
“The Demon of Money” remains a haunting episode of Evil, paying off many of the points built up in previous episodes. This episode pulls off most of season 3’s setup while delivering haunting moments.
Tired Tropes and Triggers
One can argue that “The Demon of Money uses the bury your gays trope. It’s hard to deny when there’s an admission of love just as death occurs.
There’s some effective bodily disfigurement within this episode, one example leaning toward body horror. These are the results of self-harm, but these actions remain off-screen. Viewers witness the results of the act, but the harm is relayed to the viewer well after the act
What I Dislike about “The Demon of Money”
The procedural plot will have a slight return in a later episode, but it reaches a conclusion that doesn’t satisfy the mystery. I wanted more of it, which is far from a bad problem but one to point out. Ultimately, the missed potential undermines the execution.
Ben claims The Ring is a B-film, which is rightly called out, but the claim can’t go unmentioned here. Regardless of one’s opinions of the adaptation, it’s hard to label the film as a low-budget B-film considering its 48 million dollar budget. For shame on that claim.
Final Thoughts
“The Demon of Money” brings viewers closer to the end of season 3, tying the loose plot threads to set up the season finale. With a haunting procedural investigation, this episode remains a unique example of what Evil offers. While some weaknesses appear and interesting plots drop, the episode lingers in the mind to haunt the viewer. (5 / 5)
Movies n TV
Anna (2013) To Some, Mindscape to Others, a Thriller Film
Anna (2013), also known as Mindscape, is a psychological thriller of a struggling memory detective named John.
Anna (2013), also known as Mindscape, is a psychological thriller directed by Jorge Dorado. This R-rated directorial debut stars Mark Strong, Taissa Farmiga, Brian Cox, Saskia Reeves, Richard Dillane, and Indira Varma. As of this review, interested viewers can watch this film on VUDU, Hoopla, Plex Channel, Pluto TV, Roku Channel, Tubi TV, Amazon Prime, and more. Anna originally released in 2013, but it released in the US in 2014.
Struggling to return to his work as a memory detective, John (Mark Strong) pursues a new assignment. Anna (Taissa Farmiga) views John as her last chance to prove her innocence before she’s condemned to an asylum. As John searches through her memories, a tale of abuse and manipulation unravels.
What I Like about Anna (2013)
Anna earned three nominations but no award recognition. From the Sitges–Catalonian International Film Festival, it earned a nomination for Best Motion Picture. The Goya Awards recognized Jorge Dorado with the 2014 nomination for Best New Director. Finally, Anna received a nomination from the Gaudí Awards for Best Art Direction.
Taissa Farmiga’s performance balances the line between suspicious and innocent, which is necessary for this unraveling mystery. It’s a delicate role, but Taissa Farmiga brings to life the material given.
![Inception (4K Ultra HD/BD) (4K Ultra HD) [4K UHD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2T1RGd1dGaFJhWEI1V1V3dVgxTk1NVFV3TUY4dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQ0OTM3NQ=)
- Acclaimed filmmaker Christopher Nolan directs an international cast in “Inception,” an original sci-fi actioner that travels around the globe and into the intimate and infinite world of dreams
- Dom Cobb (Leonardo DiCaprio) is a skilled thief, the best in the dangerous art of extraction: stealing valuable secrets from deep within the subconscious during the dream state when the mind is at its most vulnerable
- Cobb’s rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved
Last update on 2025-02-22 / Affiliate links / Images from Amazon Product Advertising API
Anna‘s plot rotates around a new fringe science that’s slowly gaining traction. It’s less a dissection of this science and more a norm that Anna expects viewers to believe. It’s an interesting concept, though not unique. Still, it’s a nice additional dynamic to the mystery.
While not a horrifying film, it does deliver a mystery that keeps viewers engaged with enough hooks to add an extra layer before something gets stale. That mystery does linger in the mind in some respects but doesn’t haunt the viewer.
Tired Tropes and Triggers
Despite Anna not depicting these moments, sexual assault remains a recurring element of the film. Little remains conclusive, with some suggestions that these are false allegations. Furthering this point, the film depicts Anna as a manipulator and flirt when some incidents suggest she’s a survivor of assault.
Derogatory language might upset some, but these remain brief moments. The use indicates a particular character’s immaturity, but I’ll raise the point regardless. Furthering this line of analysis is a moment where a bullied character is implied to be gay, but it’s likely just an insult.
While not inherently a trigger, this new field of science earns the claim of being somewhere between forensic science and lie detector tests, a massive gap that anything can fit in. It makes everything subjective when the film wants to claim absolute evidence. I can’t help but wonder what exploring that unreliability might look like, but that’s not this film.
What I Dislike about Anna (2013)
The biggest deal breaker for some is this concept of a teen mastermind. I won’t go into details about the mystery, but I am often fatigued with this idea of a teen femme fatale. While Anna gives enough mystery, it’s an overused trope.
Mark Strong’s performance delivers on the material, but John seems so easily manipulated for someone who does this as a profession. While out of practice, I don’t understand why he believes or doesn’t believe information. If Anna depicts John as overly critical or gullible, the film will have a more consistent character.
I assume there remains an understandable reason for the name change, but Anna appears as a common title for a film, spinning a series of some recognition. Mindscape also earns some recognition and competition, but it’s a more memorable title than a single noun name.
Final Thoughts
Anna provides an interesting concept and mystery, but many shortcomings hinder the execution. Viewers eager for a psychological mystery with a drop of sci-fi, Anna delivers an engaging story. However, the market does provide competition, making it a tough film to recommend. 
(3 / 5)
Movies n TV
Tips on Raising Evil from “The Demon of Parenthood”
The assessors investigate cursed toys in an attack against commerce, but Ben has a finger on the issue in “The Demon of Parenthood.”
“The Demon of Parenthood” is the eighth episode of season 3 of Evil, 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 cursed toys in a terrible attack against commerce, but Ben (Aasif Mandvi) has a finger on the potential issue. David (Mike Colter) receives another task from the Entity. Kristen (Katja Herbers) learns more about her missing egg. Leland (Michael Emerson) invites Dr Boggs (Kurt Fuller) to the darker side of spirituality. Sheryl (Christine Lahti) takes her granddaughter to work.
What I Like about “The Demon of Parenthood”
I enjoy the espionage aspect of the Entity, pushing David to questionable grounds as he navigates what’s right against what’s demanded of him. While this plotline doesn’t reach its full potential, this episode highlights one of the more interesting opportunities of this idea. The Entity consistently interferes with the procedural case, possibly covering up abuse to support its objectives. This episode highlights this dynamic to perfection.
Kristen gets pulled in multiple directions, forced to question her trust in David, and faces a unique horror after learning about her missing egg. While I won’t dive deeper into this issue for this review, it’s safe to say this episode belongs to Kristen, and Katja Herbers delivers.
Her unsettling night terrors suggest an intuitive understanding of some of the manipulations around her, highlighting these moments to the viewer by proxy. Beyond these meta moments, the execution of these night terrors remains pleasantly unsettling.
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
- 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
Among a constant trail of failures, Leland lingers in the background as he puts pieces together for his master plan. We don’t see the full scope of his vision yet, but the suspense it builds for future episodes earns its place. I’m interested to see how these plots will evolve, even if Leland’s luck seems to turn sour. Perhaps it’s because of this dynamic that the tension works so effectively.
With a shocking moment tied into this episode, “The Demon of Parenthood” creates one of the more haunting episodes. However, the greatest accomplishment in the episode is what it establishes for the future of the series. While not all these points follow through by the end of Evil, it’s still an episode that ripples across the show’s progression.
Tired Tropes and Triggers
Without diving into too many details, spousal abuse and murder occur in the episode. This abuse might indicate a demonic influence, but such points remain speculation.
A severed body part and some gore stand out in this episode. It hardly earns enough attention from fans of gory horror, but the squeamish should tread carefully toward the end.
What I Dislike about “The Demon of Parenthood”
Many dropped ideas seem genuinely interesting, building to some potential development that receives little payoff. Missing these opportunities will never feel satisfying. While some changes are understandable, it creates holes in the narrative. For example, Dr. Boggs’ dark seduction slows in pace, becoming implied or withheld from the audience soon after “The Demon of Parenthood.” These experiences often adapt the concept of evil that the show seeks to bring to life.
Sheryl’s compliance with Leland’s plan still seems underdeveloped as a concept, especially with how far she takes it in this episode. While later episodes add a different perspective, I can’t help but feel these are retcons or concepts not thoroughly thought out.
Final Thoughts
“The Demon of Parenthood” progresses the plot and delivers some genuinely haunting moments. While a retrospective assessment does note many missed opportunities, the episode stands up beyond these missed opportunities. (4.5 / 5)
