Notes from The Last Drive-In: Joe Bob Saves Christmas
It’s a happy horror holiday as we get another Joe Bob Briggs Christmas special on Shudder with Joe Bob Saves Christmas. This night has everything! Killer Santas! Home invasions! Charity auctions! QVC-stylings! It makes for a nice, full night of heartwarming horror fun. Between Dial Code Santa Claus, Christmas Evil, and heartwarming auctions, there is something worth stuffing into every mutant’s stocking.
On another note, however, I may have gone a bit overboard with Christmas puns during the live tweets throughout the night…
Dial Code Santa Claus
Opening Rant: “Shut the fuck up.”
My experience with Christmas horror films has been fairly limited and because of this, 1989’s Dial Code Santa Claus (also known as 3615 code Père Noël, Game Over, and a billion other titles) was not on my radar. It turns out that I have been missing out. This French holiday horror film is such an odd but wonderful movie.
The movie follows perhaps the bougiest child protagonist since Richie Rich who, eager to contact Santa Claus, uses the internet to reach out to who he thinks is Saint Nick, only to get the attention of a disturbed Santa Claus wannabe who sets his deadly sights on this child and begins a fairly low-key murder spree. The film is an odd sort of artifact for horror fans and has some striking similarities to the holiday classic Home Alone. Both films climax with a home invasion, and while Home Alone‘s is far less lethal, Dial Code Santa Claus does not shy away from deadly consequences and disturbing revelations. The revelation of the state of mind of the pseudo-Santa Claus upon gaining the upper hand in this Christmas battle is absolutely terrifying.
It’s a gorgeously shot movie and the craftsmanship is readily apparent. René Manzor’s stylish approach to the material creates such a wonderfully messed up story that explores growing up in the absolute worst way possible during the Christmas holiday. Manzor still mostly works in French cinema, but as Joe Bob Briggs reveals during the host segments (in between hawking wares) that he directed some installments of various series such as The Red Shoe Diaries and The Adventures of Young Indiana Jones. At times earnest, horrific, and that special sort of late-1980s cheesy, Dial Code Santa Claus is a holiday horror film that deserves to be seen and is a perfect sort of film for the spotlight of The Last Drive-In.
As for the inter-film shenanigans we come to expect from The Last Drive-In, the coronavirus is still wreaking havoc with the production dynamics of the show. I felt that it hurt the last Halloween special, feeling oddly isolated and melancholy, but this time around the gimmick does a lot of work to keep the proceedings light, funny, and also allowed for friends of the Drive-In to leave behind holiday wishes. For this special, the team does a sort of QVC-cum-horror network experience, complete with requisite graphics and title cards. It’s a lot different from the usual experience but in a way that fits the tone of the night, particularly given the film selections.
Throughout the night 18 different auctions were dropped on a special website and the proceeds of the bids which climbed throughout the night were designated for four distinct charities. These charities were very much right in the wheelhouse of hosts Joe Bob and Darcy, including The Trevor Project, The National Women’s Law Center, The Peaceful Valley Donkey Rescue, and the Organization for Autism Research. One of the highlights throughout the night was seeing the bids climb both on social media and the occasional reference on show to the impressive numbers. Bidding continues until the 22nd of December, so if you are interested in some incredible swag for good causes, be sure to take a look.
As far as the first half of the night goes, one couldn’t ask for a better holiday horror film; Dial Code Santa Claus was funny, thrilling, incredibly French, and had a requisite out-of-place Bonnie Tyler sad music montage. Joe Bob Briggs gave the film three stars, but I’d argue he scored it a little low. It is easily worth an extra half-star for the wide-eyed beard-flocking sequence alone. The movie is a great Christmas experience, surely nothing could be better… You’d think that, but you’d be wrong. The second film of the night is even better than the first. But don’t let that detract from the pure, unadulterated joy of Dial Code Santa Claus. I give the movie the four Cthulhu treatment.
(4 / 5)
Best Line: “I don’t like your face.” – One perceptive little girl
Christmas Evil
Opening Rant: Crystal chakras or some insanity in the desert.
The second film of the night, also a new experience for me, was my favorite: Christmas Evil. A film adored by John Waters is always a great sign. Released in 1980 on the heels of Halloween and Friday the 13th, one would expect the film to be just another sort of holiday-themed slasher copycat, but this is far from. Lewis Jackson’s film is relatively tame in violence, skewing more psychological than a slasher, but the film benefits all the more from the approach, crafting an ultimately heartbreaking chronicle of a man drifting further into madness over the holidays.
The film is a b-movie at heart, however, and for however subtle and nuanced it can be, it also delights in the absolute insanity of creating a Christmas-themed horror story. It delivers on multiple levels. The movie follows a man, Harry, who has grown up traumatized by a childhood witnessing of his parents engaged in sexual acts while his father is dressed as Santa Claus. As an adult, Harry has grown obsessed with Christmas, decorating his home with various seasonal decorations and knick-knacks and working at a toy factory. At home, he engages in dressing as Santa and taking on the requisite duties of observing and recording the local children, documenting their behavior in his book.
Harry, put upon by his coworkers and his frustrated younger brother, begins to spiral and believes himself to be Santa Claus, acting oddly but harmlessly, donating stolen toys from the factory to the local children’s hospital. This doesn’t last long, however, and soon Harry’s actions turn to murder and the film’s final act echoes the horror classic Frankenstein in several surprising ways. The film is a bit slow, however, and lacks a certain visual punch, but that’s no dealbreaker.
The film is ultimately a sad story about a broken man who truly needs help and doesn’t get it. It’s actually fairly fitting for a movie set in a season of high suicides and melancholy. This is also the more interesting when paired with a trans allegory, as Joe Bob reveals was theorized by John Waters. Given the time the film was made, the theory slides into place; it would be hard to do a trans movie, but burying the message in a movie about a man who thinks he is Santa Claus is a bit easier to swallow. General audiences didn’t really respond to the film though, so much of this discourse feels newer and in a way a little more timely. It all clicks, however, and whether or not it was intended, is worth discussing further given today’s trans community discourse.
As for the rest of the festivities throughout the night, however, one of the great treats of the host segments was the video Christmas cards featuring Drive-In favorite guests and Silver Bolo winners. Whereas the recent Halloween special felt more isolated, there was a certain level of togetherness presented in this special’s festivities, and those video Christmas cards went a long way towards that. The more live nature of the bidding on the auction also helped out quite a bit, really letting viewers feel like they were a part of something in the now.
While it was a great night for holiday horror, the standout of the films is most certainly Christmas Evil, both as a sort of holiday horror classic, but also on a more intellectual level. Sometimes the Last Drive-In pokes fun at the more scholarly side of the film world in the pursuit of blood, breasts, and beasts, but sometimes Santa Joe Bob gives unto us good little children a little something to chew on for a while, even awarding it that coveted four stars; Christmas Evil gives me just the sort of film I want to gnaw on for a bit. Happy holidays indeed! Definitely the full five Cthulhu sort of film I adore.
(5 / 5)
Best Line: “But now I want you to remember to stay good boys & girls. Respect your mothers & fathers and do what they tell you. Obey your teachers and learn a whooooole lot! Now if you do this, I’ll make sure you get good presents from me eeeevery year. Ha ha ha… but if you’re bad boys & girls, your name goes in the ‘Bad Boys & Girls’ book, and I’ll bring you something… horrible.” – “Santa” Harry
Haunted MTL Drive-In Totals
As always, we begin with the official Drive-In totals, courtesy of the Shudder twitter account:
As for my own totals? Here is what I have:
- 1 Yuki sighting
- 1 Dead dog
- 2 Bad Santas
- 3 holiday themes
- 3 alternate titles
- 3 instances of holiday aardvarking
- 18 auction items
- 25k eBay monthly earning limit
- 23 minutes of exposition
- 36.15
- Globe Crushing
- Overly French holiday traditions
- Child endangerment
- Open-eyed beard flocking
- Christmas terrorism
- Terror train
- Suspiciously rich family
- Mansplaining QVC
- Child slapping
- Child spooking
- Eye gouging
- Santa transitioning
- Catholic Joking
- Gratuitously elaborate handshaking
- Gratuitous Frankensteinesque torch pursuit
- Gratuitous “Hogzilla” chanting
- Gratuitous Bonnie Tyler sad Christmas sequence
- Minitel Fu
- Video Christmas Card Fu
- Silver Bolo Award: Geeks Who Eat
- #MOSSGARCIA4LIFE
Episode Score
In a world beset by a plague, nothing can be business as usual, and the Last Drive-In is no exception. The show continues to be fun, but after the relative disappointment I felt from the Halloween special, I was concerned that coronavirus was going to take yet another toll on a show I love. I am pleased that is not the case with Joe Bob Saves Christmas. The show found a great gimmick this time around that worked in the necessary COVID 19 restrictions while also delivering on a sense of community that is more vital than ever.
It’s good to be a mutant.
(5 / 5)
Well, that’s it for The Last Drive-In until the start of the new season, or another special. What comes first? It doesn’t really matter… we’ll still be covering it and doing our live-tweet sessions here at Haunted MTL.
… the drive-in will never die.
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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTczOTA3NzgyMw=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTczOTA3NzgyMw=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGcFEya3plbXh2Umt3dVgxTk1NVFl3WHk1cWNHYz18MTczOTA3NzgyMw=)
- 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)
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Movies n TV6 days ago
The Formal Introduction of Evil’s “The Demon of Sex”
