Notes from the Last Drive-In: Joe Bob’s Haunted Halloween Hangout
Grab your bags of candy corn boys and ghouls, for it is time for The Last Drive-In: Joe Bob’s Haunted Halloween Hangout. Shudder’s horror host unveils two cult films this Halloween: Elvira’s Haunted Hills (2001) and Popcorn (1991). Even better, he invited special guests Cassandra Peterson and Jill Schoelen to enjoy all the fun. How does this special stack up to previous engagements?
Let’s find out what Shudder had on offer on October 21, 2022.
Elvira’s Haunted Hills (2001)
The first film of the Haunted Halloween Hangout was the highly campy 2001 pseudo-sequel to Elvira: Mistress of the Dark (1988) that takes the favorite horror hostess and puts her in a classic horror story set in the Carpathian Mountains of Romania in 1851. The film plays fast and loose with Elvira’s modern, bawdy affect contrasting with the relatively-straight players around her involved in a family conspiracy in a decrepit estate. The film stars Cassandra Peterson as Elvira and a secondary role as a departed Lady of the House. She is joined by Richard O’Brien, Mary Scheer, Scott Atkison, Mary Jo Smith, and an uncredited cameo from voice actor Rob Paulson.
Peterson co-wrote the script with recently-departed Groundlings alumnus John Paragon, whom she would often work with. Most of the cast is pulled from the Groundlings as well. Director Sam Irvin took to the Roger Corman pastiche nature of the film and did a fine job playing the narrative straight and allowing Peterson’s Elvira to disrupt what is a pretty solid Gothic horror story. For a budget film entirely self-funded by Peterson and her then-husband Mark Pierson, the film also looks great when it needs to and noticeably cheap when it is most funny. Thankfully, Cinematographer Viorel Sergovici, a native Romanian, knew precisely how to utilize the on-location landscapes.
Chewing the Cardboard
Comedy-wise, this sort of film appeals to me. Some horror-hardcores may grumble about an Elvira comedy taking up a “Halloween Special Slot,” as though such a thing even exists. The jokes are widely inspired by bawdy, campy stage shows and are nothing many have not heard before. The real joke is how we buy into the film. Such as Peterson’s iconic character hanging the lampshade on and chewing the scenery of the kind of technicolor late-night horror many of us grew up with. It’s why Mystery Science Theater 3000 refuses to die. The old stuff is beloved, whether it is a gothic murder house or a burlesque joke.
I need to mention the role of Adrian, the Stable Stud, an unintentionally collaborative performance that earns the biggest laughs in the film. The seriousness of Romanian actor Gabi Andronache playing a character utterly straight with Rob Paulson’s hilariously dubbed voice is some of the funniest stuff I have ever experienced on The Last Drive-In.
With that said, the satiric edge of Elvira: Mistress of the Dark is missing here. Elvira’s Haunted Hills trades essentially in farce and, while fun, is ultimately not as great as the first film. The first film has a little more heart. This one is more of a parody but doesn’t offer much more than some teasing of a genre and style. That being said, they tease it nearly as much as Elvira’s hair.
Joe Bob-servations on Elvira’s Haunted Hills
This year’s Halloween theme was the same as the past two Drive-In Halloween specials: namely, making up for the perceived lack of Halloween in previous specials. I think this has been mined a little much, but it still leads to some fun. I think the show is beginning to grow slightly referential instead of finding new angles. So much conversation between Joe Bob and Darcy was filled with things we’ve heard on the show a few times before. While I won’t say lazy, I would say undercooked. Ironically, spending a year in a cabin for “social distancing” produced some exciting material compared to recent forays back to the trailer set.
I also felt that the “airplane light” bit was slightly overlong. As fun as it was, the conversation could have been a bit tighter, and the director could have exercised more control in moving things forward. The breaks featuring Halloween trick-or-treat tips were neat and provided plenty of fun little Halloween references. Of course, the conversation with Cassandra Peterson was excellent, but I’ll discuss that further in the review.
Final Thoughts on Elvira’s Haunted Hills
Elvira’s Haunted Hills is an enjoyable farce of a film. The pastiche of the Roger Corman 1960s Poe adaptations creates an inherently limited audience, but this movie will land for them. The film skirts the line between gorgeous and budget where it needs to as well. Meanwhile, Cassandra Peterson’s Elvira does what is expected and decimates the fourth wall with jokes older than the castle where the film takes place. The film may lack the bite of her first film, but it is still an excellent watch for a Halloween party before you dig into the creepy stuff.
Joe Bob Briggs gave Elvira’s Haunted Hills three stars. I feel the film is a strong one, but it may have a more limited appeal and lacks a little edge, so I am giving it four Cthulhus. A fun opener for the Haunted Halloween Hangout.
(4 / 5)
Best Line: “Honey, when I spend the night in a man’s room, he’d better pay me.” – Elvira
Popcorn (1991)
The second film of the night, 1991’s Popcorn, is a somewhat debated cult classic with complex production history. The film follows a ragtag group of kids who put on a film festival full of William Castle gimmicks. Only to seal their doom as someone starts killing them off. It’s a fun set-up overshadowed by the short films seen in the theater with a raucous audience. It is this which the film is most memorable, which is a shame. Outside of the short movies and aside from some strange moments, there is a golden kernel worth acknowledging.
The film’s production history is incredibly troubled. You might best understand it by watching Joe Bob discuss it with lead actress Hill Schoelen. Yet there are still many questions surrounding it. While Bob Clark produced the film, he didn’t want to direct it and pitched longtime friend Alan Ormsby. However, Ormsby would be fired as he bogged down filming the short films. Porky‘s actor Mark Harrier replaced him. Around this time, the initial lead of the film was played by Amy O’Neill (Honey, I Shrunk the Kids) but would be replaced by Jill Schoelen for unknown reasons. All of this occurred as the film was shot in a dilapidated theater in Kingston, Jamaica.
With that said, the “final” credits of the film include Mark Harrier as director, with uncredited sequences from Alan Ormsby and even Bob Clark, funny enough. The story was written by Mitchell Smith and adapted to a screenplay by Ormsby. The film would star Jill Schoelen, Tom Villard, and Dee Wallace. Ronnie Taylor would handle cinematography in one of the strangest gets for the film. The same Ronnie Taylor handled cinematography on Gandhi (1982) and A Chorus Line (1985).
“Who are we looking for?”
Popcorn is a mess; the issues in production would bleed into the film and confuse what is a decent enough premise. The three short films are excellent; the raucous reaction of the audience is a highlight. Yet, the connective tissue is lacking. The film does several odd things, and some are fun, such as a spontaneous reggae show. I have the impression that Bob Clark desperately tried to save the film, given the mess in production. However, he was also displaced enough from it to let Harrier take the credit. The film does try to course-correct a bit, but it is ham-handed. The hilarious scene depicting convenient newspaper clippings in chronological order comes to mind.
The performances are where the film shines. Jill Schoelen and Dee Wallace are great, though Wallace’s role is somewhat familiar and limited, given the movie. Schoelen was admirable as a lead, working with an already uncomfortable and awkward shoot. The actual performance that saves the film is Tom Villard as Toby. Villard’s work in the movie is excellent – his presence, when unleashed fully, is magnetic, and he takes to the prosthetic makeup incredibly well. Popcorn shows him as a talent taken far too soon by complications due to AIDs. He died just three years after the release of Popcorn at the age of 40.
The film has an offbeat quality to it that I feel would have paired better with The Monster Club, but it works for a more hammy, winking sort of Halloween special. I think the time is right for a Popcorn remake. The prop-skeleton is there; rebuild the tissue.
Joe Bob-servations on Popcorn
For the back half of the evening, Joe Bob switched from traditional trick-or-treating pranks to Samhain festivities (appropriately mispronounced, of course). These bits were fun, and the budget druid costume was a clever nod. The Samhain jokes were a nice addition and a fun way to get into the history of the spooky season.
With that said, the real highlight was the interview with Jill Schoelen, who had a lot of fun insights into Popcorn. There were also other important topics, but perhaps the best moment was when Darcy and Jill did their own smaller interview in the middle of one of the breaks. It very much felt like two friends talking. Joe Bob’s interviews can be hit or miss; he tends to do well when talking to longtime friends and old hands in the industry. He was good with both of tonight’s guests, but the ease at which Darcy and Jill spoke was quite illuminating.
Final Thoughts on Popcorn
I love Popcorn. It’s not a great film, but it is pretty fun. It is a little toothless, though. For being a 1991 film, it feels rather trapped in the 1980s. It is interesting to see this gasp of a dying genre before a reinvigoration by Scream. In many ways, it reminds me of Uncle Sam – a film out of time.
The film is fun to watch, don’t get me wrong. I prefer it to Uncle Sam. Still, it carries a lot of baggage that is never conducive to a strong film. I would give Popcorn three and a half Cthulhus.
(3.5 / 5)
Best Line: “Without memory, there can be no retribution.” – Toby
Haunted MTL Drive-In Totals
As always, here are the official totals direct from Shudder’s Twitter account.
And we have our Drive-In totals revolving around the show itself. This week we have…
- 1 Yuki Sighting
- 2 Guests
- 5 Rounds of “Applause”
- 7 Utterances of “Penis”
- 8 Presentation Boards
- 13 Instances of “Thee-ate-er”
- Gratuitous Candy Corn Slander
- Gratuitous Mispronunciation of Samhein
- Gratuitous Airplane Light Bit
- Gratuitous Halloween Decorations
- Budget Costuming
- Checklisting
- Vampire Joking
- Halloween Joking
- Eyes Roll
- Plot Recap Fu
- Production Recap Fu
Episode Score for The Last Drive-In: Joe Bob’s Haunted Halloween Hangout
Overall, the evening was fun, and the two guests did a lot for the experience. Cassandra Peterson and Jill Schoelen were absolute delights. Darcy has an opportunity to take a more active role in the episodes, at least when it comes to specific guests. her friendliness and charm proved quite the asset tonight.
As for the Halloween trappings, they felt decidedly more low-key than usual, but I think it worked. The “Trick-Or-Treat” and “Samhain” tips were a fun, punchy little gag. I’m not going to be one to complain about the movies not being Halloween-appropriate. That doesn’t bother me. The most important thing is that they’re fun; Elvira’s Haunted Hills and Popcorn are just that.
We have been spoiled as of late, especially in season four, with some creative gags and musical numbers on the show. I can’t justify them being able to deliver that every time, but I think this is the first time y felt that an aspect of the show was dialed in. There were a lot of recurring references in place of jokes. After years of doing this sort of thing, it makes sense, but I also hope that tonight was a one-off.
For this special, I have to admit the guests drew me in more than Joe Bob and Darcy – but that was bound to happen at some point. You can’t crank out hit after hit forever.
I give the Haunted Halloween Hangout three and a half Cthulhus.
(3.5 / 5)
That is it for us here at Haunted MTL regarding Joe Bob’s Haunted Halloween Hangout. We’re looking forward to season five of The Last Drive-In and will continue to review, recap, and live-tweet the show. If you want to stick around for more coverage, look at our extensive coverage of Shudder, our favorite streaming service.
Please weigh in if you have some thoughts on the Haunted Halloween Hangout special. We’d love to hear them.
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.
No products found.
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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM5NzExNQ=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM5NzExNQ=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
Last update on 2025-01-31 / Affiliate links / Images from Amazon Product Advertising API
Among a constant trail of failures, Leland lingers in the background as he puts pieces together for his master plan. We don’t see the full scope of his vision yet, but the suspense it builds for future episodes earns its place. I’m interested to see how these plots will evolve, even if Leland’s luck seems to turn sour. Perhaps it’s because of this dynamic that the tension works so effectively.
With a shocking moment tied into this episode, “The Demon of Parenthood” creates one of the more haunting episodes. However, the greatest accomplishment in the episode is what it establishes for the future of the series. While not all these points follow through by the end of Evil, it’s still an episode that ripples across the show’s progression.
Tired Tropes and Triggers
Without diving into too many details, spousal abuse and murder occur in the episode. This abuse might indicate a demonic influence, but such points remain speculation.
A severed body part and some gore stand out in this episode. It hardly earns enough attention from fans of gory horror, but the squeamish should tread carefully toward the end.
What I Dislike about “The Demon of Parenthood”
Many dropped ideas seem genuinely interesting, building to some potential development that receives little payoff. Missing these opportunities will never feel satisfying. While some changes are understandable, it creates holes in the narrative. For example, Dr. Boggs’ dark seduction slows in pace, becoming implied or withheld from the audience soon after “The Demon of Parenthood.” These experiences often adapt the concept of evil that the show seeks to bring to life.
Sheryl’s compliance with Leland’s plan still seems underdeveloped as a concept, especially with how far she takes it in this episode. While later episodes add a different perspective, I can’t help but feel these are retcons or concepts not thoroughly thought out.
Final Thoughts
“The Demon of Parenthood” progresses the plot and delivers some genuinely haunting moments. While a retrospective assessment does note many missed opportunities, the episode stands up beyond these missed opportunities. 
(4.5 / 5)
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)
