Notes from the Last Drive-In: Halloween Hoedown
Welcome to “Notes from the Last Drive-In,” Haunted MTL’s review and recap series of The Last Drive-In with Joe Bob Briggs on Shudder. This time we cover the “Halloween Hoedown” which brought us 1983’s Angel, and 1980’s Terror Train. We also were given two pretty important guests when it comes to modern horror – director David Gordon Green and mega-producer Jason Blum of Blumhouse Productions. They stopped by the trailer (yay, back at the trailer!) and talked a bit about the upcoming Halloween Kills, horror as a whole, and even joined in on some light Halloween fun.
But, looking at the movie selection – it doesn’t feel very Halloweeny, does it? Let’s get into it, shall we?
Angel (1983)
Angel (1983) is Roger Vincent O’Neil’s exploitation revenge thriller about teenage Molly, who by day is a sweet honors student, but by night is Angel, a sex worker on the streets of Hollywood Boulevarde, living with an eclectic community of sex workers and outcasts. However, Angel soon finds herself in the midst of a serial killer’s spree who targets people in her line of work.
The movie is not exactly horror but certainly delves into horror themes of predation, loss of innocence, poverty. It is a very tense film and at times it can be absolutely gutwrenching. In lesser hands, the film may have come off as cloying and preachy, but the approach here is excellent and ultimately becomes a rousing story by the final act. It may seem strange to read, but a film about a 15-year-old sex worker is quite an empowering film, arguably feminist to a great degree.
It is the brainchild of Robert Vincent O’Neil who directed and co-wrote the film with Joseph Michael Cala. The film was produced by Donald P. Borchers and distributed by 80s genre-powerhouse New World Pictures. The cast is led by then 21-year old Donna Wilkes playing Molly/Angel, with Dick Shawn, Rory Calhoun, and Susan Tyrell rounding out the oddballs she associates with. Cliff Gorman plays Lieutenant Andrews, the copy who keeps an eye out for Molly, and John Diehl plays the nameless killer.
As a whole, the performances are fantastic across the board. The film uses its veteran and character actors to a great degree of effectiveness. Particularly those in Molly’s street family. Dick Shawn and Susan Tyrell have some utterly fantastic exchanges, and Rory Calhoun, the western veteran, ends up as the coolest gun-slinging street uncle anyone could ask for. Gorman’s portrayal of a hard-working cop is good and actually results in a cop who does good things – though some of his methods may be questionable. It is especially helpful that there is no sign that he wants to help Molly beyond the fact he genuinely is worried about this kid. In a lesser movie, it might play up some sort of cringe-inducing romantic element.
The two performances I would focus on here are Donna Wilkes’ and John Diehl’s. Wilkes is good, even as a relative unknown, to keep up with actors like Shawn, Calhoun, and Tyrell. She is completely charming and does some fantastic emoting with her eyes. Her work as Molly crafts an incredibly sympathetic and strong character. This is especially true as her character changes and grows, becoming the hunter by the film’s final act. Her rich characterization and growth are complemented by John Diehl’s enigmatic and unstable killer who remains unnamed, with only a single line of dialogue after he has been chased down by a 15-year-old girl wielding a revolver in her canary-yellow sundress. True to his skill here, he eats an egg in the most disgusting and horrifying way ever seen and it is a wonderful, stomach-turning bit of characterization.
As for the more technical elements of the film, the cinematography of Andrew Davis is excellent. Using some clever camera tricks and B-roll he manages to really populate the scenes during a time when crowds weren’t as heavy. His photographic eye would serve him well as a director of action thrillers like Under Siege and The Fugitive. Also, he directed Holes, oddly enough. Charles Bornstein’s editing, particularly during the final “chase” of the film is also excellent and combined with Davis’ framing goes a long way toward making the role reversal work.
Also of note, the score by Craig Safan utilized heavy synthesizers and gives the film the aural landscape of the 1980s without diving too deep into what would become the cliche 1980s sound. Even more impressive is that the score was written in less than a week.
Joe Bob-servations
Joe Bob’s observations about the film are about what you would expect: funny and educational. Many of his observations and facts about the production naturally work their way into my review for context. What I want to talk about is a bit of fun during the segments. The prevailing theme of the night was a level of cantankerousness regarding the fandom and the previous Halloween special. It was fun and the grouchy Joe Bob character was quite welcome but also felt a little too defensive at times.
But the main draw of the evening was our venerable host sitting down with David Gordon Green, director of Halloween (2018), and the upcoming Halloween Kills. Green was a great guest for the show, showing his chops when it came to discussing the film. One of the more interesting discussions was on the state of horror, particularly in the streaming world, and what was ahead for David Gordon Green, including an upcoming Hellraiser show.
Final Thoughts on Angel (1983)
Angel was surprisingly good. This was my first time seeing it and I was floored by how complex of a film it was. While I am not sure how well it worked as a Halloween film for a Halloween special, it is definitely a portrait of drive-in excellence. It seems that the series it spawned, of four films, is a case of diminishing returns, but the first movie was so good I wouldn’t mind seeing what happens to Molly going forward. I also didn’t mention this much, but the more progressive streak in the film also proved interesting and worthy of future exploration.
(5 / 5)
Best Line: “Well, we better get over there before she ends up in the tomb for the unknown hooker.” – Mae
Terror Train (1980)
The more traditionally “Halloween” film of the night was Roger Spottiswoode’s Terror Train – though that is more in spirit than setting as this movie takes place on New Year’s Eve. The film follows a group of pre-med students after a tragic prank three years prior as they board a train for a New Year’s Eve party. Unbeknownst to the partygoers, the consequences of their actions are fast approaching in the form of a mysterious, masked killer.
The film, early enough into the formation of key slasher tropes, is novel enough. It isn’t as meticulously approached as John Carpenter’s Halloween, nor as satirical as The Texas Chainsaw Massacre, not as groundbreaking as Bob Clark’s Black Christmas. However, it is still a very solid slasher with some fun spins on what would become hallmarks of the genre. It also helps that the solid direction of the film by Roger Spottiswoode makes use of the claustrophobic setting quite well. How can a killer move so unimpeded in a commuter train? Spottiswoode does a good job at making the space itself a threat.
Rounding out the production side of the film, the screenplay was crafted by T. Y. Drake and the overall producer was Harold Greenberg. The movie is a great example of that “Canadian Funny Money” period Joe Bob Briggs has mentioned before – where productions were given heavy tax rebates for shooting in Canada. Terror Train was specially filmed in Montreal during the coldest months of the year, and just after Prom Night had wrapped. It is an independent film, but found a distributor in 20th Century Fox.
As for the performances, the film features Jamie Lee Curtis as Alana Maxwell, who represents the final girl trope quite elegantly. The film also features veteran actor and rodeo cowboy Ben Johnson as Carne, the train’s conductor. Rounding out the cast, are Hart Bochner as “Doc,” Timothy Webber as “Mo,” Sandee Currie, Vanity (yes, that Vanity), and drag artist Derek MacKinnon. Also, for some reason, David Copperfield is in the movie – yes, the magician.
Jamie Lee Curtis is pretty understated here. She doesn’t have quite the type of leading lady role she did in Halloween and Prom Night and the character succeeds as likable through the sheer force of her charisma alone. Derek MacKinnon is interesting, though largely relegated to being disguised. Despite this, MacKinnon chews the scenery pretty well, particularly given the surprising reveal at the climax as to who the killer is. The best performance of the film is from Ben Johnson, but he plays a sort of stock character in over his head and trying to solve a mystery far above his paygrade, but goddamn does he give it his all. Also, David Copperfield does some magic tricks that just feel fake because we’re seeing them in a film. That is why you only see magicians do their craft in person.
Technically speaking, the movie is quite effective and doesn’t feel like a quick cash-in that some might assume. The cinematography of John Alcott is particularly effective given the relatively small spaces on the train. It also helps the effects team were able to make the train seem mobile when it was parked for the entire shoot. If Alcott sounds familiar it is because he was Stanley Kubrick’s most trusted cinematographer, working with him on 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, and The Shining. He won an Oscar for Barry Lyndon. One of Alcott’s innovations on the set was to rewire the lighting on the train and use dimmers outside of the train cars to help simulate the movement of a train.
Anne Henderson’s editing is great, giving the film enough angles per scene to give viewers a sense of space. As for the score, I didn’t find the film to have a particularly memorable soundscape. The music is just sort of there.
Joe Bob-servations
Naturally, there was a lot to say on Terror Train, a true slashic, but it seemed the real draw for the night was getting to hear Jason Blum, David Gordon Green, and Joe Bob Briggs talk all things horror, past and present. While Jason Blum’s energy felt a bit too “producer” at times, especially compared to Green and Briggs, his presence was quite insightful. Especially because he is perhaps one of the biggest names in horror production in history, let alone now. It was interesting to hear the trio talk about how movies come about and how modern-day creative partnerships work, and it was also rather reassuring. You get the sense that Blum understands the influence and precariousness of his company and he is quite keen to foster and empower relationships with creators, with Green seeming particularly close. It’s rather pleasant to see.
There was, of course, plenty of talk on Terror Train and classic horror. Particularly fun was the revelation that David Gordon Green’s Frankenhooker t-shirt came from Joe Bob Briggs himself. Green was a fan and sent in for it. An interesting discussion revolved around Green’s education at the University of North Carolina School of the Arts – a smaller school that has provided some great alternative voices in the film industry.
Final Thoughts on Terror Train (1980)
Terror Train is most certainly a classic slasher for a reason. it came out early enough to where the novelty of putting a masked killer in a different scenario or set-up didn’t feel like as big a shortcut as it does now, it had in-her-prime scream queen Jamie Lee Curtis, and did something very interesting with the killer swapping costumes from kill to kill, servicing as a codifier of that trend early on. The film was also fairly progressive in casting a drag performer, Derek MacKinnon, as the killer without necessarily commentating or making a value judgment on drag. It is not the drag that is the problem here, it’s the killing!
(4 / 5)
Best Line: Alana Maxwell: “No. Kenny, you’re better than he is. I’m sure you’re better than he is.”
Kenny Hampson: “I am. He didn’t know how to cut a woman into pieces.”
Haunted MTL Drive-In Totals
As always, let’s take a look at the official Drive-In Totals:
As for our totals:
- 0 Yuki (rectify this next time, Shudder)
- 2 Street Dads
- 2 Time Horror Hottie
- 2 Guests
- 3 1/2 Minutes of film to shoot with
- Gratuitous Halloween discussion without showing Halloween
- Gratuitous 70s Stage Magic
- Gratuituous Samhain History Lecture
- Gratuitous dissection of the term “microbudget”
- Suprise Drag Night
- Pumpkin Censoring
- Halloween Joking
- Abrubt Ending Fu
- Half-assed Costume Fu
- Joe Bob Fan Club T-Shirt Fu
- Slumber Party Horror Movie Fu
- Krishna Assault Fu
- No Silver Bolo Award!
- Cosplay: Taco Joe Bob, Caultiflower Pizza Darcy, Angel/Molly Darcy
Episode Score
As a whole, the evening was fun but also felt unusually loose in concept compared to other specials. If it weren’t for a couple of the Halloween accouterments and a visit from some of the team behind the upcoming Halloween Kills, you’d be able to mistake this for a general night at the Drive-In. With that being said, an general night on the Drive-In is perfectly fine and if this were a midseason episode it would be great.
So no, Joe Bob, you didn’t “ruin Halloween again,” nor have you ever, but as entertaining as this was there is an expectation of something a little more thematically appropriate. One cannot necessarily fault the fans for thinking so – especially given the guests. All in all, a fun episode with a great double feature – but as far as a Halloween show goes, a little too far outside the margins.
(4 / 5)
I hope you enjoyed this recap and review of Shudder’s The Last Drive-In with Joe Bob Briggs. We don’t have a date for the return of the show for a full season, but we do know some more specials are on the way. Naturally, we are going to cover them as they release.
In the meantime, please share your thoughts with us about the show, the review, or the movies from the special. We’re dying to hear from you.
Okay, Mr. Drew Hancock, writer of Fred: the TV Show and Fred 3: Camp Fred. I hear you have a new, little horror film – COMPANION. Let’s give it a go.
And I am going to try as hard as possible not to spoil a goddamn thing since its marketing did the complete opposite.
PLOT OF COMPANION (SPOILER-FREE)
Iris (Sophie Thatcher) and boyfriend, Josh (Jack Quaid) travel to upstate New York to have a friends get-away with Josh’s best friends: Eli, (Harvey Guillén), Patrick (Lukas Gage), Kat (Megan Suri) and Kat’s boyfriend, Sergey (Rupert Friend).
However, trying to fit in, Iris starts to discover a terrifying secret within this tight-knit group of friends. A deadly secret…
THOUGHTS ON COMPANION (SPOILER-FREE)
Never would I have thought I would be saying that a writer of ‘Fred: the TV Show’ and ‘Fred 3: Camp Fred’ wrote a damn fine film. But here we are.
Writer/director, Drew Hancock, created a funny, clever and interesting gem of a horror film. COMPANION is a great adventure film in the horror genre, focusing on the ideas of identity, self-preservation, the cogito, ergo sum of life, and women’s rights.
And, trust me, I know that sounds like a lot, but that’s pulled off by the superb writing and the acting – it flows together really well. It’s an incredibly precarious job to balance humor, horror and drama. If you go too hard with humor and it’s cringey. You give too much drama and it’s tonal dissonance. If there’s too much horror…well, that’s okay, actually.
But with heavy hitters with incredible comedic timing like Harvey Guillén and Jack Quaid, the cast only elevates the writing and story. Quaid and Sophie Thatcher have so much chemistry and work so well together that the drama feels authentic and raw. Thatcher is such an engaging actress, working with what could have been a very flat role. But she portrays Iris with such intelligence, wit and vulnerability, it sells the idea of COMPANION that would usually require more suspension of disbelief.
I liked the soundtrack by Hrishikesh Hirway. Both the original soundtrack and the songs chosen work well with the tone and plot. Super fun bop. You can tell that the song selections were picked with intent and care, for example, the Goo Goo Dolls’ song playing in Josh’s apartment.
The effects in COMPANION were terrific by being used sparingly but grotesquely, for example, the scene with the slow, tortuous scene with the candle. Most of it is practical, but there are some key scenes with CGI that are really well done.
BRAINROLL JUICE: THIS HAS VAGUE SPOILERS
I love horror films. Yeah, I know, big surprise. But this type of film highlights why horror is such an important and crucial part of our history and culture. Horror is a lens of a society of the times. Looking back, we can see what creatures scared us. What people were afraid of or should be afraid of.
Horror, by large, is a very social and progressive genre. Monster movies and mad scientist movies of the 1950’s were en vogue due to the rising fears of the atomic bomb and the Cold War. The same is true for the rise in space horror as we had the Space Race and landed on the moon.
Movies of the ’60’s and ’70’s had serial killers, delinquents, social rights, and the pearl-clutching fear of losing our innocence as a nation and losing our good, Christian values.
The 70’s and 80’s saw the fear of the faceless stranger, sexual deviance, as well as our growing concern of the expanding powers of corporations.
And so on and so on (this could be an entire article itself).
However, I find this new twist on an old genre interesting – a woman’s story. From the exploitation revenge flicks of the ’70’s to the girl-power vibe of the 90’s and early 2000’s, AFAB stories are getting more attention. More realistic and substantial attention.
Coralie Fargeat has been exploring this with great success with her most recent film, ‘The Substance‘, but first really dove into this with her fan-favorite, ‘Revenge‘. ‘Freaky‘ and ‘Happy Death Day‘, while comedic, explore girlhood, femininity and social expectations. ‘Don’t Breathe‘ turns the trope on it’s head (in a still gross way). ‘Babadook‘ shows the difficulty with being a mother, and ‘Hereditary‘ is a deep drama on matriarchal generational trauma.
Obviously exploring themes of the AFAB horror experience isn’t a new idea, the exploitation of a woman’s story is starting to feel strained and gross. Currently, women are facing a tremendous push back on their rights. From losing the right to choose in a wild turn of events as Roe v Wade was overturned in 2022, to the most recent (at the time of this review) removal of women in the government, a senseless war on diversity and protections in the workplace, and the guttural shout of, “fuck you!” to transwomen and literally putting them in danger of starring in their very own rape-revenge true story.
What does this have to do with horror and COMPANION? Well, pretty much everything. COMPANION is about what it means to be a woman. Her fears are real and reflect the fears of our society currently. Loss of agency. Loss of identity. Loss of her voice and decisions.
But like all good horror, it will stand the test of time. It will be on the right side of history, as they say. With an incel proxy as the villain and a woman learning about herself, it’s clear what Hancock envisioned for COMPANION. It’s a film about empowerment and reflection of our society right now. And unlike the newest Black Christmas, it doesn’t shove a diva cup down your throat.
And all that from a guy who wrote Fred 3.
- Factory sealed DVD
- Jake Weary, Carlos Knight, Siobhan Fallon Hogan (Actors)
- Jonathan M Judge (Director) – Robert Zemeckis (Producer)
Last update on 2025-02-04 / Affiliate links / Images from Amazon Product Advertising API
BOTTOMLINE FOR COMPANION
A funny, terrifying and adventurous romp into what it means to be yourself.
(5 / 5)
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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTczODkxNDEwMw=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTczODkxNDEwMw=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGcFEya3plbXh2Umt3dVgxTk1NVFl3WHk1cWNHYz18MTczODkxNDEwMw=)
- 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)
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