Notes from the Last Drive-In: Joe Bob Ruins Christmas
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 December we received a Christmas treat in the form of a new special, “Joe Bob Ruins Christmas” which brings back the telethon format of the last Christmas special with a few fun surprises and two decidedly un-holiday films.
Nothing quite like spending the holidays with the Mutant Fam taking in the delights and horrors of Ice Cream Man (1995) and Gator Bait (1974).
Ice Cream Man
Ice Cream Man is a 1995 direct-to-video slasher produced and directed by Norman Apstein/Paul Norman. The film was written by Sven Davison and David Dobkin. It stars Clint Howard, Olivia Hussey, and David Naughton. David Warner, Jan-Michael Vincent, and Lee Majors II make brief appearances.
The plot of the film is pretty simple: a man, Gregory Tudor, is released from a sanitarium and reopens a childhood favorite ice cream factory. However, soon enough the secret ingredient of the ice cream “hardpack” is every other customer. As a result, a group of local kids, fueled by the story of the Pied Piper, seek to stop Gregory’s murderous sourcing of ingredients.
Ice Cream Man is not a good movie, but it is a fun movie. It is entirely possible to enjoy something while pointing out it is not very well made. The movie hits the sweet spot (pun intended) between awful and awfully funny, and it makes for a great selection for The Last Drive-In. I mean, any film you could reasonably define as a “Clint Howard vehicle” is pretty much going to have some laughs. The guy is fantastic and made some strange, strange films, such as last season’s Evilspeak. If there is peak Clint Howard, however, Ice Cream Man is it, and we’re all the better for it.
The film is very 1990s and direct-to-video. It doesn’t look particularly good. The quality of the lighting is muddy. Cinematography is virtually absent as well. At no point does the film introduce a shot that is unique or visually interesting. The music is budget for even 1995, cheesy synthesized plinks.
And yet it is a movie you can’t walk away from because of the sheer magnetism of whatever the Hell Clint Howard is doing with the character. Most of the performances are functional at best. The only real stinkers of the bunch are Jan-Michael Vincent and Lee Majors II as the one-note cops. David Warner shows up for about five minutes of screentime and does his thing (excellently), but beyond that, nobody stands out, especially when in a scene with Clint Howard’s Gregory Tudor.
The story can be non-sensical at times, the character motivations a mystery, and the film is full of strange, offputting moments. The special effects are low-budget mid-90s at the best of times. Yet something about this film is compelling. It’s exactly the sort of cheesy, direct-to-video material that horror fans will watch at 2 AM. The comedy, while largely unintentional, buoys the film and makes it a great drive-in movie.
Joe Bob-servations
This movie was Joe Bob’s gift to Darcy. He initially gave it three stars, but gave it an extra star bump due to the spirit of the season, making Ice Cream Man a four-star Drive-In movie.
Joe Bob did a lot to contextualize this movie for me. I had only seen it once before when I was a teen, and it didn’t really draw me in. Having watched it now with some guiding words from our venerable movie host, I have a better appreciation for it. The movie is very much a mess, as Joe Bob points out that the film was originally going to be a children’s film. That changed, however. That does explain the strange tonal shifts in the movie. It feels like a knockoff of The Goonies young cast set-up, only with Clint Howard manhandling the ice cream instead of treasure hunting.
Part of the odd tonal shifts in the film is also explained by the director, Norman Apstein/Paul Norman. A former pron director most known for Edward Penishands, he might be the last choice you would expect for a horror film, let alone what was to be a children’s film. But considering the amount directors who started in porn and moved onto horror, such as Wes Craven, this isn’t that odd. Regardless, the shift in tone within the movie stems from some of these elements, undoubtedly, as well as the fact that the director was going through a painful separation from his family during the production. It’s a pretty crazy story.
The film is just filled with some bizarre little moments that Joe Bob Briggs points out in the host segments. Whether it be the pillow stuffed under the shirt of child-actor Jojo Adams to make him look fatter, David Warner showing up to film for a day or two, or the rather bonkers nature of the scene at the asylum, which feels like another movie entirely. There are, of course, rumors that the asylum scene was a troubled shoot due to Jan-Michael Vincent being wasted. Plus, with Clint Howard being the focus we also heard a wonderful little bit about his screaming out the window of his car on the drive to the set to get that graveled voice for Gregory.
Final Thoughts on Ice Cream Man
Ice Cream Man is fun as Hell. It is not a good movie by any stretch of the conventional definition, but the Mutant Fam is not obligated to derive enjoyment based on the quality of a movie. In fact, collectively we tend to value the rougher films. Ice Cream Man was a lovely little treat for fans of The Last Drive-In, and the culmination of what’s been a fun little joke over the past couple of years regarding Darcy’s love for Clint Howard. While I did have a lot of fun, the movie does have some significant flaws. I can’t award it anything more than three Cthulhus.
(3 / 5)
Best Line: “Trolling for Tuna!” – Ice Cream Man, grabbing Tuna from his bicycle
Gator Bait
The 1974 hicksploitation film Gator Bait was a special treat from Darcy to Joe Bob for the telethon. Gator Bait, directed by the married Beverly and Ferd Sebastian, is most famous for starring former Playboy Playmate Claudia Jennings. The film also stars Douglas Dirkson, Bill Thurman, and Sam Gilman. The film was written by Beverly Sebastian with Ferd responsible for the music.
Gator Bait is set in the swamps of Louisiana and follows poacher Desiree Thibodeau (Jennings) who lives in the swamps with her kin. One day, two men seek to rape her while trapping alligators and in the pursuit, one of the men dies. Soon the sheriff, the surviving, the serving deputy, and the incestuous family of the dead would-be rapist hunt her down for revenge.
Gator Bait is a rough film. It is pretty good, all things considered, but it can be quite graphic and disturbing for the unprepared. It is in many ways an ugly, brutal film. It is also a prime example of what a hicksploitation film is and makes wonderful use of the setting, which coincidentally was in the same area as another Drive-In favorite, The Legend of Boggy Creek. The violence of the movie, more specifically sexual violence is what will generally cause most people to reject it as too far, but it is worth powering through for a strong string of revenge sequences from Desiree.
The writing of the film is the greatest strength, crafting interesting characters that I found myself really hating or intrigued by. Specifically, T. J Bracken, played by Sam Gilman, is a fairly complex antagonist who leads a rather horrific brood that he can’t keep in check. While a great deal of credit goes to Sam Gilman, such characters are a collaborative art and Beverly Sebastian’s writing creates a compelling and ugly situation that spirals out of control. It’s a feel-bad movie that creates some genuine interest in the destruction of three families brought on by an attempted rape and a cowardly lie.
Claudia Jennings is also a strong performance. Largely silent, her dialogue is a bit childish and simple, constructed of short sentences in creole, befitting her nature as a child of the swamp quite effectively. It may take a moment to let that idea set in as you watch, but it comes across quite well. She also has a certain physicality in her performance as well. Obviously, there is sex appeal, but there are moments of genuine strength where her demeanor and the framing of the shot establish that she will have her revenge in no uncertain terms.
The movie is cruel, perhaps the cruelest that has been on The Last Drive-In since Cannibal Holocaust, but that cruelty does serve a point. Gator Bait, beneath the trappings of sex, violence, and the assumed stereotypes of swamp people is a morality tale in which nobody really wins. It’s worth a watch if you can make it through a couple of particularly brutal scenes.
Joe Bob-servations
When he wasn’t expressing utter shock and dismay at triathletes, Joe Bob regaled Darcy and the rest of the telethon crew with his love of Gator Bait. He is a fan of the movie for a couple of reasons, and at least two of them involve the presence of Claudia Wells. it can be fun when the show dives into the more exploitative nature of sex. Audiences love a sexy actor or actress, and it is one of those things that the show highlights as part of the Drive-In appeal. While this is mostly revolving around the male gaze, the show is as evenhanded as possible when it has to be.
The big punchline to this is that Joe Bob established the idea of Darcy replicating the iconic look of Claudia Jennings from the poster for the film, which does happen, of course. That’s not until after Darcy subverts the gag by wearing an alligator costume. Over the past couple of years, Darcy and Joe Bob have established a wonderful rapport and in my estimation, the show is very much equally Darcy’s at this point, as she serves as the sexy angel and devil on our host’s shoulders. The Last Drive-In makes good use of their back and forth as well as the expanding roster of the guests, such as Felissa Rose, and contributors to the show such as John Brennan and Yuki Nakamura.
The host segments for this section of the film were full of fascinating information, of course. One example includes a very funny, bizarre connection to Walt Disney that I don’t believe happened, but is just odd enough to be true. There was also a lot to discuss regarding the married team who made the movie possible, particularly Beverly, who sounds like a real badass. Beverly and Ferd Sebastian strike me as representatives of the drive-in spirit we celebrate through the show, so it was particularly fun for Joe Bob to give them their due and to put these two filmmakers on more people’s radars. This was my first experience with Gator Bait, and I am happy that Joe Bob’s show was able to put this challenging yet compelling movie on my radar.
Final Thoughts on Gator Bait
Gator Bait isn’t my favorite movie that has been shown on The Last Drive-In, nor is it my favorite movie that has been introduced to me through the show. But the movie has stuck with me quite a bit since I watched it. It is a visceral film, for sure, and likely to be as divisive with the Mutant Fam as Cannibal Holocaust. As far as shock pictures go, I’d argue Cannibal Holocaust is the stronger one and features a more compelling theme, but Gator Bait is quite good. Joe Bob, being a fan of redneck pictures, gave the film four stars. I am not as enthused by it, but I did enjoy it, rough spots and all. I give Gator Bait three-and-a-half Cthulhus.
(3.5 / 5)
Best Line: “She ain’t got no choice. She either screws us, or she gets behind bars. Puttin’ a wildcat like that behind bars is bad.” – Deputy Billy Boy, immediately raising concerns in us all about the nature of law enforcement
Haunted MTL Drive-In Totals
Here are the official tallies from Shudder.
As for our own tally, we have…
- One Dead Dog
- Two Darcy Cosplays
- Four Causes Championed
- Thirteen Items Auctioned
- One Dozen Snakes
- Christmas Joking
- Jesus Joking
- Incestuous Son Whipping Fu
- Drunken Stumbling Through Asylum Set Fu
- Zoom Call Yuki Fu
- Gratuitous Holiday Musical Verses
- Gratuitous Musical Number
- Gratuitous “Reason of the Season” Lecture
Episode Score
I do appreciate the telethon format for the previous Christmas special that has carried through into this one. I also really like that the items up for auction were also a little more substantial than last year’s. I just wish I could have afforded to bid. But even then, allowing flat donations in exchange for merch was an excellent tough and with luck, the telethon has raised a substantial amount of money for each of the organizations and causes selected this time around. The selections were all themed around the nativity story of the three wise men, and throughout the night the show had a welcoming, encouraging atmosphere.
This was probably best punctuated by the recurring gag where everyone would burst into a line from a spontaneous Christmas song, to which Joe Bob would play the bah-humbug role. Of course, that led to Joe Bob taking us into a full musical ending, which is always welcome. I am always impressed with the show’s embracing of original songs and how good John Brennan and his crew are at putting them together.
After a long stretch of episodes dealing with the isolation that reflected the world struggling with COVID and all-around suck, this Christmas special felt like a great example of the togetherness that The Last Drive-In can bring for horror fans.
Plus, there was the Chili Bandit again. I love that little hog.
(4 / 5)
And that is where we leave you until The Last Drive-In with Joe Bob Briggs returns to Shudder in 2022. I would love to read your thoughts on the special and the films chosen. I’d also like to read your thoughts on the reviews. Are they too long? Not long enough? Please, let us know.
Otherwise, please, have a Merry Christmas, and may all your gators be baited safely.
“There’s room for everyone at the Drive-In. Everyone pays the same price to get in. We’ll make room for you.”
Joe Bob Briggs
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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTczOTAyNzE5Ng=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTczOTAyNzE5Ng=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGcFEya3plbXh2Umt3dVgxTk1NVFl3WHk1cWNHYz18MTczOTAyNzE5Ng=)
- 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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A Journey from Cosmic Horror to Shell Beach, or Dark City (1998)
