Notes from The Last Drive-In: S2E6
It was an evening of chills, spills, and colonial ills for the sixth episode of The Last Drive-In with Joe Bob Briggs. What a night. We had two divisive features: Dead Heat and Cannibal Holocaust. I think we can all agree that maybe there was a little too much Piscopo. That and filmed animal deaths are pretty terrible.
So, lets dive in, shall we?
Dead Heat (1988)
Opening Rant: Can one loiter in a Starbucks?
We all know how this goes, two cops are investigating a conspiracy, one cop dies in the line for fire, and then is revived as a zombie to continue his work with his smart-aleck partner. Welcome to Dead Heat: It’s like Lethal Weapon meets My Boyfriend’s Back. The first movie tonight was kind of a light, airy aperitif to Cannibal Holocaust‘s main course. Dead Heat was goofy, overproduced, but still pretty fun.
The movie is an interesting product of late 1980s Hollywood trying to ape the spirit of the kind of trash coming from low-budget indie projects. The elements are all there but not handled appropriately. The film feels like a Troma release with too much money and lazy execution. There is stuff in this movie to love, though, and even a more scaled-down one or two films buried in this overly-plotted mess of the movie.
It’s strange that what should be a momentous occasion, the presence of Darren McGavin and Vincent Price in the same movie, does not really wow as it should. That’s kind of the movie as a whole: it should be way better than it is. Less time spent on Joe Piscopo one-liners and an amusing but ultimately pointless reanimated Chinese butcher shop inventory and Dead Heat could have been really good.
That being said, Treat Williams hurling himself off a motorcycle through a glass door, guns-blazing was certainly worth the watch. The film is fun, but that is about it.
Joe Bob’s assessment of Dead Heat is pretty middle of the road for a film on The Last Drive-In, coming in at two and a half stars. Of course, our host had a lot to say about the film and a lot of it was interesting, but it also felt like Joe Bob just wasn’t feeling it. This might be the most ambivalent he has ever been on a movie since his debut on Shudder. Perhaps it is a recognition of squandered potential in concept and execution?
Then again, Dead Heat was definitely not the draw for the evening. Cannibal Holocaust stole the show even before the episode aired.
Dead Heat could have been a better movie. I can only give it two and a half Cthulhus out of five. If the film hadn’t been as crazy as it ended up by the end I would have rated it lower.
(2.5 / 5)
Best Line: “God wants us to live forever. And even if he doesn’t, you could always buy him off.” – Loudermilk
Cannibal Holocaust
Opening Rant: Vegan Meat
The buzz around this week was already huge in the MutantFam as this was the rare time that Joe Bob revealed a movie early on. Cannibal Holocaust (1980) is a lightning rod of controversy and emotions in the horror community. I won’t say it is a “love it or hate it” film as my own feelings are fairly ambivalent, but it is most assuredly polarizing.
So, the thing about Cannibal Holocaust is, in my estimation, that any weight we attach to the film in the form of messages is in spite of director Ruggero Deodato’s efforts. The film is an exploitation piece, through and through, and it’s pretty good at that. It is a cannibal mondo and delivers some pretty gruesome stuff. Yet, the anti-colonial reading of the film is definitely more attributable to critics and viewers. Deodato has said a lot about the film since and has said the “right” things about intent, but the production of the film feels otherwise. I won’t relay the long, convoluted history of Cannibal Holocaust, but others have.
The film is largely ham-handed in messaging. Violence is swift, exploitative, and animal cruelty is a real issue. Joe Bob did verify that the animals slaughtered on camera were used to feed local indigenous actors, which doesn’t quite make it acceptable by any means but eases the sting of it a bit. Yet there are moments of brilliance.
The score is one of the haunting and iconic audio accompaniments to grotesque violence and exploitation shown on the screen. The score is downright beautiful and the juxtaposition of a romantic melody set against the slaughter of human beings works incredibly well in promoting unease in the whole on-screen enterprise.
This paragraph will have spoilers, so please skip it if you intend to watch the movie. I do not want to ruin two particular scenes. With that out of the way, it feels strange to say, but the best moment of the film could go to two scenes: In the first, the manipulative filmmakers burn down a hut full of trapped indigenous people and in the aftermath, the lead producer and his co-producer have sex near the smoking ruins in a scene of excess cruelty. So much interpretive work can be done based around this scene. It’s masterfully executed in establishing the Green Inferno-crew as the” real cannibals,” a sentiment delivered at the end of the film. The second scene is equally cruel: the three men of the camera crew rape and indigenous woman and the sole woman member of the crew protests, not about the rape, but the waste of film; after all, they can’t show this to the public.
These scenes of cruelty are intended as set up for why the events of the film play out, but they come off as so much more because of the cultural cachet of the film. Cannibal Holocaust is just one of those movies that carries a certain weight. Few people would straight up say itis their all-time favorite among certain company, though it certainly is an all-time favorite for some.
The problem is that, ultimately, Cannibal Holocaust just isn’t that good as a movie. It’s not exactly “fun,” though fun is not necessarily the be-all measure of quality. It’s not exactly deep, either, as it is a blunt metaphor that was sharpened by viewers after the fact. Most of the horror of the film stems from animal slaughter and barring a couple of moments, most of the gore is passable at best. The film’s most iconic shock is often displayed right on the cover of the DVD or on the theatrical poster. The film offers little besides novelty and is an interesting footnote in the debate of films and obscenity.
Yet, I firmly believe that any serious advocate for film should see this film. It is a strange contrast I must deal with; it’s not good, but it is also something to be seen.
Joe Bob’s assessment of the film, to me, seemed a bit mixed. There was a fair and justified amount of criticism regarding elements of the film, but what was interesting was the way he had handled the aspect of animal cruelty. Yes, animals were harmed in the making of the film and committed to celluloid, but those animals were also used as food. It’s an ugly bit of filmmaking but it is also something that has been overblown, to a degree.
The majority of the criticism revolved around the direction, and I definitely found myself in agreement in that regard. In my own estimation, Ruggero Deodato is an inconsistent center to such a touchstone in the horror community, and his on-set choices and antics are equally as problematic as the animal abuse. I cracked this joke during the live-tweet, but I think it summed up my feelings pretty succinctly.
Joe Bob has talked at length about the (hard “I”) Italian film industry of the 60s, 70s, and 80s. It was nuts. Imagine how crazy a person is to be considered too crazy for the Italian film industry.
The real highlight of the evening, however, was the sense of care for viewers that the crew of The Last Drive-In places into their show. The disclaimers were frequent, one at the end of the break between films, Shudder’s own disclaimer, the film’s disclaimer, the social media disclaimers in the lead up to the film, and Darcy’s own trigger-warning tweets as the film aired. It reflects well on Joe Bob Briggs and those with whom he has surrounded himself in this stage of his career.
Given the film, it is ironic that I can use the word heartwarming to describe the night as beyond the many warnings meant to protect those who may be unable to handle the content of the film there was something new. Something fans have wanted for a while: Host segments with timestamps, detached from the film. More are on the way for previous movies that have long slipped the grasp of Shudder, but rolling them out starting with Cannibal Holocaust is incredibly fitting. The ongoing BBQ gag throughout the host segments in the latter half of the night was incredibly cute as well.
Ultimately, Joe Bob’s score for Cannibal Holocaust is a reflection of polarization. It’s either four stars or one star. It just depends on how you approach it. As for me, the film scores three Cthulhus. It’s important but it’s not necessarily good.
(3 / 5)
Best Line: “Ah, yes, that’s typical Western thought. Civilized, isn’t it? That’s what Alan thought and that’s why he’s dead. The Yacumo Indian is a primitive, and he has to be respected as such. You know, did you ever think of the Yacumo point of view, that we might be the ones who are savages?” – Monroe
Haunted MTL Drive-In Totals
As always, Shudder shares those wonderful recaps. Cannibal Holocaust‘s are, as expected, pretty wild.
As for the Haunted MTL tally?
- 2 Bolos
- 2 Ineffectual Zombie Gimp Robbers
- 2 Dead Monkeys
- 3 Tribes
- 3 BBQ Styles
- 6 Yuki Sightings
- 700 Cop Cliches
- Trailer Opening
- Twin Peaks Connecting
- Darcy Jailing
- BBQing
- Lincoln/Kennedy Joking
- Nun Joking
- Woman Melting
- Tactical Vincent Price
- Mangled Dick Expert Felissa Rose
- Course-Correcting Gunfights
- Gratuitous One-Liners from Joe Piscopo
- Gratuitous Character Actors
- Disclaimer Fu
- Lipstick Fu
- Deli Fu
- Launching Off Motorcycle Fu
- Silver Bolo Award Winner: The Homicidal Homemaker
- Darcy Cosplay: The Turtle’s Revenge
Episode Score
While the energy felt a little lacking surrounding Dead Heat, the crew more than made up for it with the shenanigans surrounding the airing of Cannibal Holocaust. Had the discussion and host segments not delivered I very likely could have dipped below a four here.
(4 / 5)
As always, join us for live-tweets for the remainder of the season.
Movies n TV
Anna (2013) To Some, Mindscape to Others, a Thriller Film
Anna (2013), also known as Mindscape, is a psychological thriller of a struggling memory detective named John.
Anna (2013), also known as Mindscape, is a psychological thriller directed by Jorge Dorado. This R-rated directorial debut stars Mark Strong, Taissa Farmiga, Brian Cox, Saskia Reeves, Richard Dillane, and Indira Varma. As of this review, interested viewers can watch this film on VUDU, Hoopla, Plex Channel, Pluto TV, Roku Channel, Tubi TV, Amazon Prime, and more. Anna originally released in 2013, but it released in the US in 2014.
Struggling to return to his work as a memory detective, John (Mark Strong) pursues a new assignment. Anna (Taissa Farmiga) views John as her last chance to prove her innocence before she’s condemned to an asylum. As John searches through her memories, a tale of abuse and manipulation unravels.
What I Like about Anna (2013)
Anna earned three nominations but no award recognition. From the Sitges–Catalonian International Film Festival, it earned a nomination for Best Motion Picture. The Goya Awards recognized Jorge Dorado with the 2014 nomination for Best New Director. Finally, Anna received a nomination from the Gaudí Awards for Best Art Direction.
Taissa Farmiga’s performance balances the line between suspicious and innocent, which is necessary for this unraveling mystery. It’s a delicate role, but Taissa Farmiga brings to life the material given.
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Anna‘s plot rotates around a new fringe science that’s slowly gaining traction. It’s less a dissection of this science and more a norm that Anna expects viewers to believe. It’s an interesting concept, though not unique. Still, it’s a nice additional dynamic to the mystery.
While not a horrifying film, it does deliver a mystery that keeps viewers engaged with enough hooks to add an extra layer before something gets stale. That mystery does linger in the mind in some respects but doesn’t haunt the viewer.
Tired Tropes and Triggers
Despite Anna not depicting these moments, sexual assault remains a recurring element of the film. Little remains conclusive, with some suggestions that these are false allegations. Furthering this point, the film depicts Anna as a manipulator and flirt when some incidents suggest she’s a survivor of assault.
Derogatory language might upset some, but these remain brief moments. The use indicates a particular character’s immaturity, but I’ll raise the point regardless. Furthering this line of analysis is a moment where a bullied character is implied to be gay, but it’s likely just an insult.
While not inherently a trigger, this new field of science earns the claim of being somewhere between forensic science and lie detector tests, a massive gap that anything can fit in. It makes everything subjective when the film wants to claim absolute evidence. I can’t help but wonder what exploring that unreliability might look like, but that’s not this film.
What I Dislike about Anna (2013)
The biggest deal breaker for some is this concept of a teen mastermind. I won’t go into details about the mystery, but I am often fatigued with this idea of a teen femme fatale. While Anna gives enough mystery, it’s an overused trope.
Mark Strong’s performance delivers on the material, but John seems so easily manipulated for someone who does this as a profession. While out of practice, I don’t understand why he believes or doesn’t believe information. If Anna depicts John as overly critical or gullible, the film will have a more consistent character.
I assume there remains an understandable reason for the name change, but Anna appears as a common title for a film, spinning a series of some recognition. Mindscape also earns some recognition and competition, but it’s a more memorable title than a single noun name.
Final Thoughts
Anna provides an interesting concept and mystery, but many shortcomings hinder the execution. Viewers eager for a psychological mystery with a drop of sci-fi, Anna delivers an engaging story. However, the market does provide competition, making it a tough film to recommend. (3 / 5)
Movies n TV
Tips on Raising Evil from “The Demon of Parenthood”
The assessors investigate cursed toys in an attack against commerce, but Ben has a finger on the issue in “The Demon of Parenthood.”
“The Demon of Parenthood” is the eighth episode of season 3 of Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate cursed toys in a terrible attack against commerce, but Ben (Aasif Mandvi) has a finger on the potential issue. David (Mike Colter) receives another task from the Entity. Kristen (Katja Herbers) learns more about her missing egg. Leland (Michael Emerson) invites Dr Boggs (Kurt Fuller) to the darker side of spirituality. Sheryl (Christine Lahti) takes her granddaughter to work.
What I Like about “The Demon of Parenthood”
I enjoy the espionage aspect of the Entity, pushing David to questionable grounds as he navigates what’s right against what’s demanded of him. While this plotline doesn’t reach its full potential, this episode highlights one of the more interesting opportunities of this idea. The Entity consistently interferes with the procedural case, possibly covering up abuse to support its objectives. This episode highlights this dynamic to perfection.
Kristen gets pulled in multiple directions, forced to question her trust in David, and faces a unique horror after learning about her missing egg. While I won’t dive deeper into this issue for this review, it’s safe to say this episode belongs to Kristen, and Katja Herbers delivers.
Her unsettling night terrors suggest an intuitive understanding of some of the manipulations around her, highlighting these moments to the viewer by proxy. Beyond these meta moments, the execution of these night terrors remains pleasantly unsettling.
![Evil: Season Three [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQxOTE1Nw=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQxOTE1Nw=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
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Among a constant trail of failures, Leland lingers in the background as he puts pieces together for his master plan. We don’t see the full scope of his vision yet, but the suspense it builds for future episodes earns its place. I’m interested to see how these plots will evolve, even if Leland’s luck seems to turn sour. Perhaps it’s because of this dynamic that the tension works so effectively.
With a shocking moment tied into this episode, “The Demon of Parenthood” creates one of the more haunting episodes. However, the greatest accomplishment in the episode is what it establishes for the future of the series. While not all these points follow through by the end of Evil, it’s still an episode that ripples across the show’s progression.
Tired Tropes and Triggers
Without diving into too many details, spousal abuse and murder occur in the episode. This abuse might indicate a demonic influence, but such points remain speculation.
A severed body part and some gore stand out in this episode. It hardly earns enough attention from fans of gory horror, but the squeamish should tread carefully toward the end.
What I Dislike about “The Demon of Parenthood”
Many dropped ideas seem genuinely interesting, building to some potential development that receives little payoff. Missing these opportunities will never feel satisfying. While some changes are understandable, it creates holes in the narrative. For example, Dr. Boggs’ dark seduction slows in pace, becoming implied or withheld from the audience soon after “The Demon of Parenthood.” These experiences often adapt the concept of evil that the show seeks to bring to life.
Sheryl’s compliance with Leland’s plan still seems underdeveloped as a concept, especially with how far she takes it in this episode. While later episodes add a different perspective, I can’t help but feel these are retcons or concepts not thoroughly thought out.
Final Thoughts
“The Demon of Parenthood” progresses the plot and delivers some genuinely haunting moments. While a retrospective assessment does note many missed opportunities, the episode stands up beyond these missed opportunities. 
(4.5 / 5)
Movies n TV
You’ll Have a Bloody Good Time with this Eternal (2004) Health Tip
When Raymond Pope’s wife disappears, he follows the trail. But each lead points him to the Eternal beauty of Elizabeth Kane.
Eternal (2004) is a horror thriller written and directed by Wilhelm Liebenberg and Federico Sanchez. This R-rated film stars Caroline Néron, Victoria Sanchez, Conrad Pla, and Ilona Elkin. As of this review, it is available for Amazon Prime members with renting options from Spectrum on Demand.
When Raymond Pope’s (Conrad Pla) wife disappears, he’s swept into the mystery of Elizabeth Kane (Caroline Néron). As his investigation becomes increasingly bizarre, bodies pile up and point to Raymond Pope. Will he clear his name, or will this bloody rampage drown him?
What I Like about Eternal
While all of the performances add to the film, Eternal thrives on the charisma and mystique of Caroline Néron’s Elizabeth. She enchants her targets, lowering their defenses until that final moment.
Conrad Pla’s Raymond Pope also requires a delicate approach to succeed. The sleazy and hypocritical detective seems genuinely concerned for his wife (at least initially) and sells that concern. While far from an easy character to root for, the audience understands him and the danger he faces.
There’s a heavy erotic thriller angle that Eternal delivers on. I’ll linger on this point in later sections, but it certainly knows how to build tension within a single scene or between characters. These moments don’t feel forced, and while they often target a male audience, interesting dynamics rise above general exploitative content, if only slightly.
This seems to be a passion project between the creators, Wilhelm Liebenberg and Federico Sanchez. This passion lingers in the moments to deliver something unique, if not without its flaws. The film doesn’t hold back, a point that fluctuates between negative and positive depending on the situation. Regardless, it holds a charm in that commitment that’s hard to replicate without passion behind the scenes.
Tired Tropes and Triggers
The film labels itself as “Inspired by True Events,” which only relates to the general discussion of Elizabeth Báthory. It’s also worth mentioning that, much like Vlad Dracula, her story remains heavily dominated by modern interpretations. I won’t pretend to hold exclusive knowledge of these historical figures, but cultural interpretation reduces realism. The claim means little to nothing.
The predatory queer trope applies to Eternal, with little complexity to challenge the point as the violence often targets women. It’s important to note that Elizabeth acts as a femme fatale in general, but the targets remain clear. However, this film did earn a moment of recognition from the Glitter Awards (a clip was used in 2006), which might suggest the standout performance of Caroline Néron’s Elizabeth earns back some goodwill.
What I Dislike about Eternal
The erotic thriller holds a stigma that Eternal doesn’t challenge. Elizabeth remains a clear femme fatale with a slightly supernatural twist. While the performance executes this character perfectly, viewers likely know if this remains an interest or a tired cliche for themselves.
While most of Raymond’s acts make sense for the character, I hold issue with the end. Without going into too many details, he is asked to do one thing to protect himself and does the opposite for no reason. Perhaps this indicates supernatural influence, but such a claim lingers in headcanon.
The film ends ambiguously, which hardly seems fitting given the evidence and weakens the overall film. A definitive ending, or something moderately more definitive, would strengthen Eternal.
Final Thoughts
Eternal’s major obstacle in executing its erotic thriller is that of tired tropes in the modern era. If one looks past these dated points, there’s a haunting thriller that can meet moments of excellence. The plot falls short in many areas towards the end of the film. Ultimately, if a vampire-esque thriller interests you, Eternal certainly adds its perception to the niche but in a familiar form.
(3.5 / 5)
