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Welcome back to the Drive-In. This week Joe Bob joked about the lack of guests on the show and how this weekend’s feature would be received. Fans were fortunate to have an absolutely stacked back-to-back two weeks of fun guests, but there is something said to just having Joe Bob, Darcy, and the always vital Mangled Dick Expert Felissa Rose with us for the night. It’s another solid showing at The Last Drive-In this week.

This time we got two movies full of color, weirdness, and amazing music: Brain Damage (1988) and Deep Red (1975).

So, let’s dive in, shall we?

Brain Damage (1988)

Opening Rant: Joe Bob is not an Instagram fan.

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So, Frank Henenlotter’s Brain Damage is a pretty special movie. The movie is at least partially connected to the first marathon’s Basket Case (1982) by a fun cameo, but it is little more than a silly cameo. One of Henenlotter’s other films, Frankenhooker (1990), would be a nice future film for The Last Drive-In. Brain Damage itself would go on to add two sequels in 1990 and 1991.

The main thing about Brain Damage is that it is unbelievably fun. It’s a strange film that deals with themes of addiction by creating a golden-voiced brain slug monster that serves as the drug epidemic metaphor. Shockingly, it works well because it believes in itself enough to be goofy and still commit to the strange morality of it all.

It’s not a scary film, however. Sure, it is gory and hilarious, but the presence of a talking drug slug, whose origins are explained in an absurdly long backstory-bomb, just presents no real frights beyond vague feelings of anxiety around drug addition. The movie is cheeseballs, basically, but that’s fine because it is so entertaining. I mean, the movie plays its goofy card pretty blatantly by bringing in an (uncredited) John Zacherle as Aylmer, the mind-bending brain parasite.

Joe Bob gave this film a full 4 stars and I am inclined to agree that it is a very quality movie. The Aylmer puppet is a huge jump above Belial from Basket Case, and even then, the puppet is just goofy enough to let you buy into the movie in a way that a CGI Aylmer never could. The insights into the production provided by our venerable host were as great as ever, of course. In particular, though, the fourth break chronicles the origins of the tune of Aylmer’s little musical number. It proved appropriately historical, insightful, and slightly out of place like a good Joe Bob deep-dive, given the feature was about a drug slug. Another interesting fact dropped by Briggs, however, was the revelation of a “shooting subway” in NYC for film-production.

Brain Damage continues Joe Bob’s 4-star spoils this season on The Last Drive-In and it is definitely one of those films where I’d agree with him on a higher score. The film is not perfect but the movie is just too ridiculous and fun. I plan on re-watching it a couple more times as soon as I can. It’s that good. Brain Damage is a 5 Cthulhu film.

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5 out of 5 stars (5 / 5)

Best Line: “Yeah, but when it comes to blood in my underwear, I want to know how it got there.” – Brian to Aylmer

The sound mixing here is on point, fitting, as it is all ear trauma.

Deep Red (1975)

Opening Rant: Joe Bob talks the Getty Fire in LA.

Dario Argento’s Deep Red (or Profundo rosso for you Giallo nerds) is one of those huge moments in Giallo film that has become legendary and is perhaps held up on a pedestal of sorts. When held at a distance like that, as some sort of art, it tends to have imperfections overlooked. So much has been written about Argento’s film. Even what constitutes the real film is up for debate and is storied. After all, there are so many different versions floating around out there and the film has been hacked up more than some Giallo women.

There is so much weight attached to Deep Red that it may come off as sacrilege among some of the horror community to label it as a fine movie. It is definitely up there in Argento’s creative works. The film is entertaining and stylish. But it’s also a significantly flawed piece. It’s very much style over substance. I liken it to an extended high-art music video, and given the origins of the band Goblin from this film, that seems fitting. Sequences are not so much organic expressions of the narrative but rather cool moments set to Italian prog-rock, albeit some amazing prog-rock. It’s got pointlessly strange setpieces inconsistent with the actual story being told.

This is very much a movie to have to play in the background of a party, or just maybe sitting back with something to drink with the volume way up for that amazing Goblin score. This is not a movie for a satisfying story. It’s just not good. It’s fine.

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I am a Dario Argento fan, one of those Argentophiles that has written papers on some of his work. I totally understand how exhausting people like me can be. Joe Bob really sort of tore into Argento and his fans throughout the feature, which makes it puzzling that he awarded Deep Red a full 4 stars. This is where I feel I need to diverge from our Drive-In scholar. I don’t feel Deep Red is that great, nor do I feel Joe Bob Briggs’ assessment of it felt entirely truthful. Part of his assessment, at least to me, felt as though it was the equivalent of sugar-coating the bitter pill. Perhaps giving the movie the full Drive-In tally is symbolic, recognizing influence and legacy, but giving him some room to be honest about how up-their-own-asses some Argento fans can be regarding the movie.

The bits poking fun at the scholarship surrounding the movie throughout the feature were equally hilarious and pointed. As someone who has been up-his-own-ass about Argento’s work I felt a slight sting, of course; pointed glances from my girlfriend didn’t help. But I also really recognized the truth there. Just as there are Argento’s acolytes who write endlessly about Deep Red, I am one whose tastes align more toward Suspiria. I also recognize that I am a bit crazy about Suspiria, so the ego check provided by Briggs was welcome.

However, I firmly believe that diegetic sound has its merits in the discussion of film and no amount of teasing from the redneck vampire is going to change that.

Largely nonsensical and aesthetically stunning, Deep Red is a tough review, especially paired with a movie like Brain Damage that is itself largely nonsensical and aesthetically stunning. What separates the two is that one has an actual, thought out story between cool moments, and the other is just cool moments.

I can really only give Deep Red 3 and 1/2 Cthulhus out of 5.

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3.5 out of 5 stars (3.5 / 5)

Best Line: “Great! Really, that’s good. Very good. Maybe a bit too good… Too clean. Yes, too precise. Too… formal. It should be more trashy. See what I mean? Remember that this sort of jazz came out of the brothels.” – Marcus, the pretentious bitch-boy.

Thanks, I hate it.

HMTL Drive-In Totals

Shudder provides us with a handy recap of the totals for the two movies of the night.

But, what about our totals for the week?

  • 2 weeks of NYC subway scenes
  • 2 dirty bathrooms
  • 7 instances of brain listed in the drive-in totals
  • 7-million instances of “brain” being used in describing Brain Damage
  • 11 seconds (when the pre-show countdown ended and then relaunched at this point)
  • Surprise Eye
  • Surprise Robot Doll
  • Truck-Dragging Fu
  • Brat Smacking Fu
  • Drywall Scrapping Fu
  • Gratuitous Blue, Green, and Red
  • Gratuitous Goblin
  • Dick Mangling Expertise (thanks Felissa!)
  • History Lecturing
  • Ear Popping
  • Big Band Prostelyzing
  • Scholar Bashing
  • Cum Tripping
  • Door Bouncing
  • Butcher Joking
  • Polish Joking
  • Yuki Sighting
  • Darcy Jailing
  • Darcy Cosplay: Dungeon Girl
  • Silver Bolo Award: Dead Meat
Darcy has the weirdest boner.

Episode Score

Any Drive-In night is a good night, and this was very much a great, standard showing of the show. Perhaps relatively subdued in comparison to the first two nights with the amount of stuff that was going on, but those are exceptions and not the norm.

Tonight’s pairing was very interesting and I’d love to know more about why these movies were paired the way they were. It wasn’t as outlandish as last week’s double-feature, but there is something about seeing these two movies together that seems to be making a statement. 4 out of 5 stars (4 / 5)

Hey, see you next week during the double-feature, yes? Be sure to follow us on Twitter. I take it over on Friday nights during The Last Drive-In showing.

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Movies n TV

The Boys, Season Four Finale

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We have come now to the finale of season four of The Boys. And while it didn’t have the literal blood fireworks I wanted, someone did get ripped in half in the air. So, that’s pretty close.

As a note, I will try to avoid spoilers as much as possible. This ending was a hell of a gut punch that should be experienced as blindly as possible. That being said, I will not be able to avoid spoilers and still give a full legitimate review. Proceed at your own risk.

The story

The main storyline for this episode is the attempted assassination of President-Elect Robert Singer. The Boys join forces with the Secret Service to protect him. But, as we learned last episode, Annie has been replaced with a shapeshifter. A shapeshifter that was welcome not just into Hughie’s anus, but into the protective bunker in which the President-Elect is hiding.

What worked

The first thing I want to discuss about this episode is the ending. But we need to do this carefully.

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The important thing here is that the ending breaks your heart on so many levels. So many terrible things are happening to characters that it’s almost hard to keep track. And each moment is significant to each character.

I cannot give a specific example. But no matter who your favorite character is, you’re going to weep for them.

Jack Quaid in The Boys.

Unless your favorite character is Sage. And this is the next thing that made this episode so fantastic.

I don’t think I’m spoiling anything to say that Sage’s plans worked out exactly as she wanted them to. And she got exactly what she wanted.

What she wanted wasn’t power. It wasn’t money or fame or vengeance. It wasn’t to win the love of anyone. She just wanted to see if she could do it.

That is a terrific, terrifying motivation! Because all she wants is to play a massive game of chess with people as pieces. She doesn’t care about anyone. She just wants to see how many people she can manipulate. She just wants to set things on fire to see if she can.

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Fantastic. A plus villain work.

The next thing I want to discuss is a cornerstone of the whole series.

The morality of The Boys shifts through the series. While it’s very much a battle to save the world from overpowered super monsters, it’s also a battle for the souls of our real heroes. And in that battle, there are two warring factors. We have Hughie, always trying to bring everyone up to a better level. And we have Butcher, who has no problem at all hitting rock bottom with a shovel in hand to do some more digging.

In this episode, we saw almost every member of The Boys challenged. Will they rise to their higher angels, or sink with their demons?

On a similar note, I am so glad that the writers kind of addressed my issues with Annie. They did this by having the shapeshifter get right into her face and accuse her of thinking that she’s better than everyone.

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Erin Moriarty in The Boys.

While that was devastating for the character, it was a little cathartic for those of us who felt like Annie was a little too good of a good guy.

What didn’t work

This is a small matter, but it is an issue that I want to address. After Annie finds out that Hughie slept with her doppelganger, she is furious at him.

In addition to this being unfair, it’s also a very cliche element to add. In almost every instance of a lookalike in fiction, there’s a moment where the love interest of the victim is fooled. Or almost fooled. And it’s always the same fight. It’s just played out and predictable. I’m just glad that it didn’t last very long.

Now that we’ve come to the end of the season, I can officially say that it was amazing. The story was deep and rich. The special effects were a stomach-turning good time. The character development was spot-on and satisfying. And, of course, it left me just about gagging to see what happens next. Unfortunately, it looks like we’ll have a bit of a wait. Because as of right now, the fifth season isn’t expected until 2026.

5 out of 5 stars (5 / 5)

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The Boys, The Insider

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We’ve reached the second to last episode of The Boys, season four. And, as is appropriate for the penultimate episode of any show, things have to get a lot worse before they can get better.

Let’s discuss.

The story

Christmas is coming, and the whole world is getting ready. Ryan, despite being very clear that he didn’t want to appear on any TV shows or movies, has been strong-armed into participating in a Vought puppet Christmas special. He draws the line, though, when asked to sing about turning one’s parents in if they start talking about woke things.

Cameron Crovetti in The Boys.

Meanwhile, The Boys are trying to keep each other together. Butcher decides to take Sameer to the rest of the team. He also gets Frenchie out of prison, hoping they can make the Sup virus necessary to finally take down Homelander. Instead, this decision means disaster for one member of the team.

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What worked

I first want to talk about Ryan’s speech near the end of the episode. Because it was exactly the moral of this whole story.

Ryan’s dad is a monster. His stepdad is also kind of a monster. But Ryan is a good kid. He cares about people, about family. And while he loves Homelander and Butcher, he doesn’t want to be like them.

Even better, this speech sounded like something a kid would say. Ryan didn’t open his mouth and start sounding like a college student all of a sudden. He sounds like a kid who misses his mom and wants to live up to the good standards she set for him. And I think that’s terrific.

Speaking of Homelander, he shot himself in the foot in this episode. I said earlier in the season that his hubris was going to be his downfall, and I was right. Without Sage, he just has the same weaknesses he’s always had. He’s going to fail because he just isn’t clever enough or patient enough to succeed.

Without Sage, I think a win is in the bag for The Boys. This isn’t to say that Homelander by himself isn’t dangerous. It’s just that he’s more like a wildfire than a controlled burn. He’s going to cause a lot of damage, but not get anything he wants out of it.

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More’s the pity for him and everyone else who has to share his world.

Finally, I am thrilled with A-Train’s redemption story. I love that he wants to be a good person not to save himself, but to be a good person. His honest, pure and warm reaction to that little kid smiling at him in the last episode was heartwarming. It changed him in a moment, bringing to light a goodness that he’s been keeping under wraps for a long time.

Jessie T. Usher in The Boys.

This, along with Ryan’s courageous speech, proves once again what The Boys does so well. Yes, it’s gruesome. Yes, there’s blood and balls and batshit events. Yes, someone occasionally gets ripped in half. But there is a true human goodness in the story. One that we catch glimpses of. There are good people among the monsters. There is hope for redemption.

What didn’t work

Of course, so few things in this life are perfect, and this episode was no exception. For instance, I was irritated by the insinuation that Butcher cheated on his wife.

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That just doesn’t make any sense. We’ve seen flashbacks of Billy and Becca. They were happy. He was happy. He was head over heels for her. And I don’t think it’s realistic or necessary for the character to throw in that he cheated. It does nothing to add to the story, it’s just a weird and offputting moment.

Doesn’t Butcher have enough to hate about himself? Can’t we just give him that at least he was a good husband?

Finally, I kind of hate that we ended up with Annie being caught. It’s just cliche, which is something I don’t normally say about this show. It feels lazy unless they do something very clever with it in the last episode. Which, I suppose, they might.

Next up is the season finale. And with this season being as insane as it has been, I’m expecting nothing short of bloody fireworks. And I mean literal fireworks of blood. At this point, would it surprise anyone?

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4 out of 5 stars (4 / 5)

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The Boys, Dirty Business

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Episode six of The Boys was one of the most surprising episodes of the series so far. And that is certainly saying something. Because this season has so far been bonkers.

The story

Our episode today revolves around a party at Tek Knight’s lovely mansion. Yes, it does look just like Wayne Manor.

The Boys know that Tek Knight is working with Homelander on something, but they don’t know the details. So they decide to send Hughie in to bug the mansion.

Because that’s worked so well the other two times he’s tried to hide a bug!

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It should surprise no one that this time goes no better. Hughie finds himself in Tek Knight’s basement. And by that I mean his BDSM dungeon.

Meanwhile, the party upstairs is no less disturbing. Homelander and Sage are trying to convince some well-off political donors to support a cue after the election. When pressed for details on his plan, Homelander freezes. He looks to Sage for help, but she wasn’t recently shot in the head and still in the junk food stage of her healing.

Fortunately, or unfortunately depending on your point of view, Neuman jumps in and saves the day.

Claudia Doumit in The Boys.

What works

If I’m going to say one thing about this episode, it didn’t hold back at all. I didn’t expect them to show a character masturbating, sitting their bare behind on a cake, or spraying breastmilk into someone’s face. But every time I thought they’d cut the scene and let something be left to our imagination, they did not do that.

Derek Wilson in The Boys.

This is a dangerous move. Whenever you show the monster, you run the risk of them not being scary enough, or gross enough. As Stephen King says in Danse Macabre, to leave this sort of thing to the imagination if the reader makes things so much worse. So when they finally experience the monster, they might say that this isn’t so bad. It could have been so much worse.

But in this case, they managed to avoid that by making the scenes, especially the ones in Tek Knight’s dungeon, so much worse than I imagined it would be.

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What doesn’t work

While this was a deeply disturbing episode in many ways, there was one really innocent and sweet moment.

And yes, I did have a problem with it.

Confronted by Firecracker, Annie decides to apologize for spreading rumors about her when they were kids. She tells her that she is genuinely sorry.

And I believe her. I don’t think Firecracker did, but I did.

So why is this an issue? Because I’m starting to think that Annie is maybe too nice. She is too good.

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I know that Annie is our good guy. But every one of the other good guys has flaws. Hughie let his pride get in the way and took Temp V. MM hid himself from his daughter instead of teaching her to work through her emotions. Kimiko is far too closed off and has a hard time trusting others. Frenchie numbs himself with drugs. And well, what hasn’t Butcher done?

It is unrealistic that Annie is just so kind and so flawless. We all have shadows in our personalities. We all have weaknesses, we all mess up. We all do things we wish we could take back. The fact that Annie doesn’t seem to have anything like that is not just unrealistic. It’s infantilizing.

Give her some deep dark secrets. Give her something real to regret.

This was a shocking episode, even for someone fairly jaded like me. I wasn’t expecting the sort of weird sexual depravity, though I guess maybe I should have seen it coming. It was dark, upsetting, tense, and funny as hell. And with just two episodes left in the season, I can imagine the stakes are only going to get higher.

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4 out of 5 stars (4 / 5)

By the way, if you like my writing you can get my short story, Man In The Woods, on Smashwords and Amazon.

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