Notes from The Last Drive-In: Joe Bob Put a Spell on You
Joe Bob Briggs and Shudder deliver a Valentine to the MutantFam with the release of a Valentine’s Day special, “Joe Bob Put a Spell on You.” It was a night of love, sex, magic, and dinosaurs and the sort of shocking wedding you’d expect from the trashiest of soap operas. Plus, all the sheer, unadulterated Yuki lust was just too hot to handle.
It’s the sticky, oozy love that you need to take a shower to get off of you in this special. Our two films? 1994’s Tammy and the T-Rex and the recent, retro-throwback The Love Witch.
Let me whisper some sweet nothings into your ear about it…
Tammy and the T-Rex (1994)
Opening: Wild Man Weekends
Haunted MTL is no stranger to the unique joys of 1994’s Tammy and the T-Rex. This cult classic pretty much tells you everything to expect from the movie in style and substance from it’s IMDB synopsis:
An evil scientist implants the brain of Michael, a murdered high school student, into a Tyrannosaurus. He escapes, wreaks vengeance on his high school tormentors, and is reunited with his sweetheart Tammy.
If that does not scream B-movie fun and drive-in fodder I worry about how you define those things.
So, Tammy and the T-Rex is the stuff of legend, or at least as legendary as 1994 dinosaur high school films can be. The film, directed by Stuart Raffill, was written by Raffill with Gary Brockette, and had its script turned around in about a week subject to the revelation that Raffill had access to an animatronic T-Rex. The film stars relative newbies Denise Richards and the titular Tammy, Paul Walker as the hunky-boyfriend-cum-robot-dinosaur, and the film is basically stolen by Theo Forsett as Byron. Oh, and the biggest star is, of course, the life-sized animatronic Tyrannosaurus Rex. I could also go on about all the other great character actors in the film, a hallmark of any great drive-in movie. The movie has a solid cast of characters of all stars, stripes, and claws.
The film is the good kind of cheap. Not at expense of the overall quality, but because of the ingenuity involved in production because most of the money went toward a T-Rex that had to spend a lot of time stationary, barring shots involving a moving head. The film is also a great example of the sort of controlled-chaos of the best drive-in movies. A pivotal scene of Tammy riding Walkersaurus-Rex off into the distance was short amidst a photogenic orange sky, but the orange was due to wildfires raging at the time. Sometimes smoke from the fires even show up in frame. How could the film even be filmed in such conditions? A $250 bribe to the right people.
It’s just that sort of movie.
The writing will not generally “wow” most people. There are jokes that simply don’t really land today, and probably never really did. The plot is insane and a lot of logic flies out the window when you deal with brain transplants into robot dinosaur bodies. The film also rewards the actors who are best able to commit to the absurdity of it all, with Paul Walker and Denise Richards proving surprisingly adept at walking the line between sincere and silly. Theo Forsett, playing Tammy’s gay bestie, however, absolutely steals the show. But everyone from the mad science party to the police to the dopey-ass teens deliver some fun, campy performances.
The film, originally released as a PG-13 family film, which makes absolutely no sense, is in many ways saved by it’s “gore cut” which is what The Last Drive-In opted to show. The camp of the film is elevated to incredible levels and the gore is absolutely hilarious, and arguably necessary to the film.
A lot of Joe Bob’s factoids of the film sort of worked their way into my review, which happens when so much great information is given. Among the highlights is the reveal that we were absolutely robbed of more Theo Forsett, who made Tammy and the T-Rex his final film. He is probably happily retired somewhere. The other strange reveal, Stuart Raffell would work again with J. Jay Saunders (sheriff and Byron’s father) for the film Lost in Africa (1994). The curiosity here? It was financed by the Duke of Northumberland to promote wildlife conservation.
Huh.
The principal gag of the night, dealing with the topics of love and witchcraft, were shenanigans involving potions. Throughout the night love, or something like it, was sought through the creation of potions, all revolving around witchcraft, as befits the second movie of the night. As far as the setting, we are still in the cabin in New Jersey, a lingering reminder of the coronavirus on production. The cabin is starting to grow on me, however. The last Halloween special was a bit rough and felt a bit isolated in a way that stripped the fun out of the experience, but things are becoming a little more homey with each new special set in the cabin.
That being said, I really want to get back to the trailer. It’s an iconic set design.
For a Valentine’s Day special, Tammy and the T-Rex is a surprisingly perfect choice that illustrates undying love that comes in surprising forms, and that the right person will move Heaven and Earth to be there for you. It also features a robot-dinosaur that murders several people in cartoonish gory ways. Joe Bob Briggs gave the film four stars, which I’d say is a fair assessment and well deserved. It is impossible to find something to dislike in this movie, for me. On that note, I give Tammy and the T-Rex the five Cthulhu treatment.
(5 / 5)
Best Line: “He’s a brother. Soulfood. Rythym.” – Byron handling a corpse for a potential brain transplant.
The Love Witch (2016)
Opening: Word choice matters, an etymology lesson.
I came into the Valentine’s Day special already very, very excited because I had guessed that 2016’s The Love Witch was going to be one of the films for the night. It is in many ways the perfect film for The Last Drive-In‘s approach to Valentine’s Day. The Love Witch is a horror comedy written, directed, edited, scored, and produced by all-around badass Anna Biller. It is an absolutely gorgeous 1960s-throwback in visuals but with modern feminist themes and explorations into contemporary gender roles, sex, and love.
The IMDB synopsis doesn’t give away the story, but doesn’t exactly really sell just how good the film is.
A modern-day witch uses spells and magic to get men to fall in love with her, with deadly consequences.
The movie was a limited release but caught the attention of horror fans, witchcraft enthusiasts, and cinephiles around the US. It had quite the impact as far as cult projects go. Anna Biller gathered a talented group of naturalistic actors, including Samantha Robinson as the titular Love Witch, Gian Keys as the detective who she falls for, and Laura Waddell as the real-estate agent whose life Elaine selfishly ruins. My only real criticism of the film, a minor one, is that the performances could have been a touch more camp. Not overwhelmingly so, of course. I understand Biller’s choices when it comes to how she wanted scenes played… but I do want to see the more tongue-in-cheek version of The Love Witch.
There is a lot going on with this movie, and a lot to say, more so than I can do in this article. As far as why the film is so good, though, there are a couple of reasons: the style, the exploration of gender, and the usage of witchcraft.
Stylistically, this movie is astounding, taking some of the aesthetics of the 1960s and transplanting them to the modern-day. The effect is so good, that moments where cell-phones and modern cars pop up feel positively anachronistic because you’ve been so pulled into the technicolor stylings of the camera and design. So much of that is at the hand of Anna Biller who led virtually every choice seen on-screen, down to costumes and set design, collecting and crafting items for the film herself. The colors, as well, stand out. The film uses the technicolor aesthetic well, with bright colors emphasizing moods, traits, and on-screen magic. At times you wonder if you’ve maybe watched a lost Alfred Hitchcock film, or perhaps something from Hammer Horror.
The other two reasons for the film’s success, the exploration of gender and the film’s usage of witchcraft is also of note and deserve to be explored in a much more thorough essay. At heart, though, during her discussion with Joe Bob Briggs, Anna Biller mentions the female gaze and how that gaze is reflected in the witchcraft done in the film, which I think makes up the heart of the movie. The movie is all about the selfish desires of the narcissistic Elaine and the tragedy that transpires all derives from her inability to come to terms with her desires and how she wishes to see love written in the way she mistakenly believes it must be for her to be fulfilled. The problem is that Elaine can never be fulfilled and magic becomes a sort of addiction to fill that missing something in her life.
As far as the episodic festivities with Joe Bob, Darcy, Yuki, and the behind-the-scenes crew, we still have everyone held hostage at the cabin with Joe Bob doing the best he can. Darcy has also grown to be a snarkier and more assertive presence in the show, which I welcome entirely. I’ve followed JBB for a long time, since I was a kid, really, and Darcy is the most-involved and most fun Mail Girl of the bunch.
As for the potion shenanigans, all the strange brews begin to have some delirious and fun effects on the show, with Joe Bob and Darcy both feeling a little something about the resident Kyoto Cowboy, Yuki, and culminates in trippin’ Joe Bob hallucinating (or was he?) a Ren-Faire wedding between Darcy and a cardboard cutout of Tom Atkins. It’s one of the most deliriously funny, and out-there skits in the show, and I was reminded of the host segments from Mystery Science Theater 3000.
The real highlight of the host segments, however, was the interview with Anna Biller. Socially distanced through a screen on the body of a mannequin, the interview proved to be a fascinating discussion and love letter to film in general, perhaps the real Valentine of the night. Joe Bob’s understanding of film is that of a master, but even the master himself can learn something new, and Anna Biller brings in some great moments with our host. Of note was her discussion of the female gaze. There is a moment where you see something on Joe Bob Briggs’ face… a genuine moment of surprise and delight – all in raised eyebrows and wide eyes.
This was perhaps my favorite guest spot on the show. I love getting actors and such on the set, do not get me wrong, but something about the behind-the-scenes directorial talent just adds something special to The Last Drive-In. Anna Biller might be the best guest since ol’ Uncle Lloydie. I was absolutely thrilled to just hear Briggs and Biller talk, and I think Shudder is sitting on a potential podcast of Joe Bob talking horror with the people who make it. It feels appropriate to their brand, gives Joe Bob more money, and makes the fans happy. I hope it happens one day.
I have to quibble with Job Bob giving The Love Witch the mere three-and-a-half stars he opted for. Generally, I feel his judgment is pretty strong, but there really is no reason not to give The Love Witch perfect marks. Hell, it has 25 breasts, blood, and it has the beast with two backs. It’s a triple-B feature with the aesthetic and indie credit of “real” film. As far as I could tell, he didn’t really deliver much in the way of a major critique of the film either, leaving me a bit lost in his reasoning. As for me, The Love Witch is a perfect film, and it’s pretty hot too, in a number of ways. See it with your partner while having a glass of wine. Trust me. I give it the full five Cthulhu treatment.
(5 / 5)
Best Line: “I’m the love witch! I’m your ultimate fantasy!” – Elaine, not being wrong…
Haunted MTL Drive-In Totals
We start, of course, with the official totals. Thanks, Shudder.
As for our own quirky count, we have:
- 1 Darcy Jailing
- 2 JBB “Thee-ate-ers”
- 2 Weeks to Film Tammy and the T-Rex
- 3 Punches to Paul Walker by Strong Germanic Woman
- 3 Love Potions
- 4 Punished Testicles
- 6 Day Script
- 7 Yuki Sightings
- 7 Years to make The Love Witch
- 35mm Film
- $250 Bribe
- Gratuitous 90s Fashion
- Gratuitous “Tootsie-Wootise”
- Gratuitous Pillow Sulking
- Surprise Bard Brennan
- Braingasms
- Tamponade
- Graverobbings
- Goon Flattening
- Dinosaur Towing
- Awkward Stripteasing
- LA Joking
- Brooms in Love Joking
- Wig Fu
- Surprise Wedding Fu
- Nude Ritual Fu
- Silver Bolo Award goes to The Real Queen of Horror
- Darcy Cosplay: 3, an inflatable T-Rex suit, the striptease outfit, and the Ren-Faire wedding dress
Episode Score
Over 2000 words so far on this special so far. I had a lot to say on it because it was that good, frankly. It is always a treat to discover that my favorite episode or film pairing can always update and I applaud The Last Drive-In for delivering new surprises. I do worry we may be running out of holidays, however. Maybe they can do some of the Leprechaun films for St. Patrick’s Day. Shudder can get the rights to those, right?
Maybe they can do something for Arbor Day. There is a killer tree movie out there, right?
(5 / 5)
And, with that, we reach the end. Please let us know what you think about these recaps, and please consider commenting and sharing them to spread the word. I am not so secretly gunning for a Silver Bolo for myself one day. Why not help us out, huh?
We’ll see you at the next special or season, whichever comes first.
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.
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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.
![Evil: Season Three [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQwMTQyNg=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQwMTQyNg=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
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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)
Movies n TV
You’ll Have a Bloody Good Time with this Eternal (2004) Health Tip
When Raymond Pope’s wife disappears, he follows the trail. But each lead points him to the Eternal beauty of Elizabeth Kane.
Eternal (2004) is a horror thriller written and directed by Wilhelm Liebenberg and Federico Sanchez. This R-rated film stars Caroline Néron, Victoria Sanchez, Conrad Pla, and Ilona Elkin. As of this review, it is available for Amazon Prime members with renting options from Spectrum on Demand.
When Raymond Pope’s (Conrad Pla) wife disappears, he’s swept into the mystery of Elizabeth Kane (Caroline Néron). As his investigation becomes increasingly bizarre, bodies pile up and point to Raymond Pope. Will he clear his name, or will this bloody rampage drown him?
What I Like about Eternal
While all of the performances add to the film, Eternal thrives on the charisma and mystique of Caroline Néron’s Elizabeth. She enchants her targets, lowering their defenses until that final moment.
Conrad Pla’s Raymond Pope also requires a delicate approach to succeed. The sleazy and hypocritical detective seems genuinely concerned for his wife (at least initially) and sells that concern. While far from an easy character to root for, the audience understands him and the danger he faces.
There’s a heavy erotic thriller angle that Eternal delivers on. I’ll linger on this point in later sections, but it certainly knows how to build tension within a single scene or between characters. These moments don’t feel forced, and while they often target a male audience, interesting dynamics rise above general exploitative content, if only slightly.
This seems to be a passion project between the creators, Wilhelm Liebenberg and Federico Sanchez. This passion lingers in the moments to deliver something unique, if not without its flaws. The film doesn’t hold back, a point that fluctuates between negative and positive depending on the situation. Regardless, it holds a charm in that commitment that’s hard to replicate without passion behind the scenes.
Tired Tropes and Triggers
The film labels itself as “Inspired by True Events,” which only relates to the general discussion of Elizabeth Báthory. It’s also worth mentioning that, much like Vlad Dracula, her story remains heavily dominated by modern interpretations. I won’t pretend to hold exclusive knowledge of these historical figures, but cultural interpretation reduces realism. The claim means little to nothing.
The predatory queer trope applies to Eternal, with little complexity to challenge the point as the violence often targets women. It’s important to note that Elizabeth acts as a femme fatale in general, but the targets remain clear. However, this film did earn a moment of recognition from the Glitter Awards (a clip was used in 2006), which might suggest the standout performance of Caroline Néron’s Elizabeth earns back some goodwill.
What I Dislike about Eternal
The erotic thriller holds a stigma that Eternal doesn’t challenge. Elizabeth remains a clear femme fatale with a slightly supernatural twist. While the performance executes this character perfectly, viewers likely know if this remains an interest or a tired cliche for themselves.
While most of Raymond’s acts make sense for the character, I hold issue with the end. Without going into too many details, he is asked to do one thing to protect himself and does the opposite for no reason. Perhaps this indicates supernatural influence, but such a claim lingers in headcanon.
The film ends ambiguously, which hardly seems fitting given the evidence and weakens the overall film. A definitive ending, or something moderately more definitive, would strengthen Eternal.
Final Thoughts
Eternal’s major obstacle in executing its erotic thriller is that of tired tropes in the modern era. If one looks past these dated points, there’s a haunting thriller that can meet moments of excellence. The plot falls short in many areas towards the end of the film. Ultimately, if a vampire-esque thriller interests you, Eternal certainly adds its perception to the niche but in a familiar form.
(3.5 / 5)
