This might be the best night in the history of The Last Drive-In, especially in a season that has largely been nothing but highs. We not only get an excellent anthology in Scare Package but we get the infamous, the legendary, Hogzilla. A night so full of Joe Bob he was also in the damn movies!
Scare Package (2019)
Opening Rant: Graceland!
How the hell do I review an anthology given the current format of Notes from The Last Drive-In? One segment at a time, apparently. Scare Package is a hilarious horror-comedy anthology comprised of seven films that tackle different horror genres and have their own unique style. As a whole, the anthology is largely excellent and worth a rewatch. At an individual level, however, some of the segments are stronger than others.
I say seven films, as that is how Scare Package was marketed, but that is slightly misleading as the cold open and framing decide end up also coming together into a third, distinct narrative. As such, we technically have eight narratives, not counting the overall package itself, the anthology. Between the first half of the night and the last half, then, I need to review 10 things.
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You’re killing me, Joe Bob. So, I guess we dive in then?
“Cold Open” / “Rad Chad’s Horror Emporium”
“Cold Open” is a fun little way to start the anthology, presenting a suitably meta riff on horror tropes and displaying a goofy and endearing earnestness. Jon Michael Simpson’s Mike Myers and his simple desire to have a bigger part than a bit player make for a nice, quick narrative that also features some decent horror references. Mike’s story segues nicely into the framing narrative, “Rad Chad’s Horror Emporium.”
“Rad Chad’s Horror Emporium” is not really much in the way of a story as it is more written into small sketches that move viewers between segments. With that being said, the framing device really works. It’s a fun video store with a goofy owner, a new guy, and a frequent customer. Each framing segment features plenty of gags for horror fans. Jeremy King’s Chad Buckley is the clear focus of these moments and his broad, obsessive characterization works quite well, particularly with the later payoff of the final segment.
Joe Bob’s assessment of these two segments was glowing, at four stars. While I think “Cold Open” was more entertaining, “Rad Chad’s Horror Emporium” is no comedy slouch either. Staying in line with Joe Bob’s scoring, I’d put the two of them together at four and a half Cthulhus.
(4.5 / 5)
“One Time in the Woods”
A few of these segments are more like sketches than real narratives. But that is a given with anthologies, especially with an anthology so absolutely stacked full of stories. Granted that this is no The ABCs of Death, but there are still a lot of segments, here. “One Time in the Woods” is a wacky and I dare say Pythonesque bit. I reminded me of the classic “Sam Peckinpah’s ‘Salad Days’”sketch from Flying Circus.
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Joe Bob gave “One Time in the Woods” four stars and as a sketch I completely agree. It’s hilarious, gory, and I was laughing so much I had to stop taking notes. I give it five Cthulhus.
(5 / 5)
“M.I.S.T.E.R.”
“M.I.S.T.E.R.” is an interesting idea that feels a little too scattershot and undercooked. It features some very familiar faces (Noah Segan and Jon Gabrus) and a hilarious segment of werewolf slaughter, but the logic of the story is a little weak and it feels strung together as a whole. The connection between predatory werewolves and Men’s Rights Advocacy makes a lot of metaphorical sense and is worth exploring. It just does not necessarily work here.
Joe Bob gave “M.I.S.T.E.R.” two and a half stars. That seems about right. I give “M.I.S.T.E.R.” three Cthulhus.
(3 / 5)
“Girls Night Out of Body”
“Girls Night Out of Body” was not the strongest of the narratives but it was more developed than a few of the other segments. Where “Girls Night Out of Body” succeeds is in style. This was the most gorgeously shot and arranged of the segments with bold color choices reminiscent of Giallo. The lack of a strong narrative here works against it but as an anthology segment it still ends up being fun. It presents some cool visuals and has a fun, if not particularly deep, story. It works well enough for its runtime.
Joe Bob gave it about two stars. I feel like he was a bit stingy here. I was more enthused by it, giving it three and a half Cthulhus. I’ll be first in line when they expand it into a full movie.
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(3.5 / 5)
“The Night He Came Back Again! Part IV: The Final Kill”
Another segment that feels more like a sketch than a story, but it is absolutely hilarious. For my money, it might tie with “One Time in the Woods” for the funniest segment of the anthology. This segment is presented as being part of the ending to a longer film. We catch the finale of the slasher where the protagonists have captured the clown-killer and try to dispose of him in hilarious and graphic ways. This segment might be the tropiest of the bunch.
Joe Bob gave this one four stars. He likes the messy ones, apparently. I give this one four Cthulhus.
(4 / 5)
“So Much To Do”
MST3K-alumn Baron Vaughn’s “So Much to Do” is a cute little segment. It’s pretty cheesy down to stock 1980s title cards on the TV, and it’s definitely more on the skit-side of the anthology spectrum. The fight is fun and the crosscutting between the living room and the tv-show makes for some frantic editing here and there. The story makes little sense, but beyond that it’s still pretty neat.
Joe Bob only gave it two stars. I am a bit more generous, particularly because I am a fan of Vaughn and I am allowed to play by my own rules. I give it three Cthulhus.
(3 / 5)
“Horror Hypothesis”
The largest and most developed segment of the anthology ends up being the strongest one, narratively speaking. It also features one of the best Last Drive-In twists… at least until Hogzilla later that night. This segment builds on “Cold Open” and “Rad Chad’s Horror Emporium” taking the Chad character and putting him into his own little meta-horror film. All of the gags built around researching horror and the lampshade-hanging present are worth a laugh. I put it pretty succinctly in a tweet during the marathon.
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The film predates the Joe Bob Briggs’ resurgence via Shudder a bit so it is fantastic to see a movie that thinks so highly of him that they brought him in. Joe Bob plays himself here and it is every bit as funny as you’d expect. The segment also features Goldust himself, Dustin Rhodes, as the tragic serial killer.
Joe Bob had some fun stuff to say about the movie, but considering each break was the presentation of more and more Drive-In Totals this is probably one of the lesser nights for the level of film insight we are used to. But you know what? That’s okay. It was a stacked night. Scare Package didn’t get an overall rating, but “Horror Hypothesis” did at four stars. so I have no stars to report beyond the individual segments. As for me, I give Scare Packagefour and a half Cthulhus.
(4 / 5)
Best Line: No line needed when we have this absolute gem of a Tweet.
Hogzilla
Opening Rant: Joe Bob can’t even right now.
Hogzilla is one of those monkey paw sorts of movies. It obtained an almost mythical status among viewers. The MutantFam hyped the film up to a huge degree because it starred Joe Bob Briggs and was considered a lost film that never really saw release. A film so neglected it took Diana Prince, our very own Mail Girl, to engage in tracking it down and getting a re-edit of the film prepared to be shown on Shudder.
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The problem is, Hogzilla isn’t very good at all. It’s more of a curiosity than a movie. I mean, just read this synopsis according to IMDB.
A tabloid news crew ventures into the backwoods of Central Florida to investigate reports of an aggressive feral hog who the locals call Hogzilla. What they find, though, are demons, devils, creeping things and pure evil.Hogzilla synopsis courtesy of IMDB
This is not the movie we saw during The Last Drive-In. The above sounds vaguely structured and at least conceptually weak but still somewhat sound. It’s hard to really view Hogzilla as a movie at all. It’s some sort of tulpa of Drive-In wackiness we have collectively willed into existence.
And yet it made for a memorable and delightful evening.
The movie teases an showdown with a giant, feral hog and never really delivers a satisfying glimpse of the beast. Budget and technical issues prevent than and most of the hog-murder-action comes in the form of offscreen antics and POV shots from the porcine killer. It’s like a backwoods Floridian JAWS, only without any real merits beyond a surprisingly earnest performance by Joe Bob Briggs.
Joe Bob Briggs, also known as John Bloom, is not just our favorite horror host, but an author and actor. He’s been in some good movies and he’s not a bad actor in the least. He’s never really had to carry a movie, but he is certainly no slouch when he’s popped up in different films. Sure a great many of these rolls are the sort of wink-wink-nudge appearances you expect from movie-obsessed directors, but appearances in The Stand, Great Balls of Fire!, Casino, and Face/Off are genuinely pretty good moments on his part.
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So it was fitting that the only real thing that worked in Hogzilla was Joe Bob Briggs. It’s impossible for anyone to carry Hogzilla but we spent an hour and thirty minutes watching him do his best and it was pretty damn satisfying. At this point I don’t know if Joe Bob can really get more serious, non-winking film roles, but the guy deserves some.
Joe Bob had Hogzilla sprung on him (as much as a scripted movie marathon show can “spring” anything on the guy who writes it) but it was a genuinely charming and entertaining night, leading in from Scare Package, where he kept needling Darcy about the second film and playing it with all the spoiled, requisite grumpiness we’d expect. The segments surrounding the feature were a treat with what appeared to be a progressively more hammered Joe Bob Briggs poking fun at himself and the movie.
The biggest moment of the night, however, was the delivery of the Drive-In Totals by Darcy. This was a Drive-In first. I have loved all the mail girls across the various Joe Bob shows but Darcy is the best of them all, shaping her role into more of a co-host than a supporting player. Tonight proved that Darcy is absolutely indispensable to The Last Drive-In with Joe Bob Briggs. The show may be named after Joe Bob Briggs but Darcy has become the beating heart of the community that has grown around the show.
Not only does she provide a fun foil to our host but she has her own impact through cosplay, checking Joe Bob on dumb crap he sometimes rattles off, and going above and beyond the role of the supporting character. She accompanies Joe Bob across the country on his tours, she live-tweets with the MutantFam, and she has networked to get great guests and Hogzilla onto the show.
We should all be so lucky to find a collaborator and friend like Diana Prince in our own lives. Joe Bob and Darcy are The Last Drive-In.
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Darcy’s take on Hogzilla was that of a cheerleader. I don’t mean that in a dismissive way, either. Hogzilla is a great moment for the show and I get the four-star rating. It made for an amazing episode of television. However, I can’t really give Hogzilla a pass. It’s a one and a half star film, and that one star is reserved for Joe Bob, the only bright spot in that mess.
(1.5 / 5)
Best Line: “It’s gonna get nasty.”
Haunted MTL Drive-In Totals
We have a lot of Drive-In totals tonight, and Drive-In Total history as well. Each segment of Scare Package received its own totals, and Darcy got to share the Drive-In Totals for Hogzilla. What a night!
What, you think we’re done? Nope, we have our own totals. A smaller set, but Totals none the less!
File this episode under “all time great.” I am curious if The Last Drive-In is going to even attempt to top this one.
(5 / 5)
Remember, folks, keep your hogs at bay lest ye end up prey to the mighty Hogzilla. Also, join us for the live-tweet session during The Last Drive-In season two finale next Friday!
“The Demon of Death” is the season 3 premiere of the supernatural dramaEvil, 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 the weight of a soul. Father Frank Ignatius (Wallace Shawn) agrees to participate in this test despite his growing disillusionment. David (Mike Colter) and Kristen (Katja Herbers) deal with the ramifications of their confessions. Kristen’s girls go on the warpath with Leland (Michael Emerson). Andy (Patrick Brammall) signs his death warrant.
What I Like about “The Demon of Death”
As season 2 ended with a cliffhanger, “The Demon of Death” picks back up with an interesting addition. The episode provides a more obvious stopping point that Season 2 should have taken advantage of. It dumbfounds me because this addition makes for a more interesting and darker cliffhanger. The added context would have made the cliffhanger more palatable. However, it’s a nice twist for the episode.
Dr. Boggs (Kurt Fuller) and Sister Andrea (Andrea Martin) make an interesting pair that adds complexity to both. We even explore some of Sister Andrea’s character flaws, best displayed by her interaction with Kristen in the next scene. Few wise sage characters that display flaws, making this addition appreciated.
Father Ignatius’ introduction adds layers of interest for a character who will play a recurring role, tying into Monsignor Korecki directly. The yet-to-be-explored relationship between Father Ignatius and Monsignor Korecki (Boris McGiver) evokes an interest.
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While “The Demon of Death” isn’t a haunting episode, but explores the mysteries and terror of death through science to provide an interesting environment for an episode. It introduces a new character that adds to the cast.
Tired Tropes and Triggers
There’s not much to report here that particularly crosses the line and what teeters on the line holds a dark comedic tone.
Perhaps Sister Andrea’s flaw might rub some the wrong way, as it deals with her overwhelming faith. However, it’s a minor point at the moment. Again, I lean on liking some complexity for the wise sage archetype.
What I Dislike about “The Demon of Death”
“The Demon of Death” still plays it safe with its supernatural elements, but that does seem to be Evil’s standard. At this point of the series, it seems a strange restraint. However, the new normal remains functionally paranormal.
While the premiere starts with an interesting procedural plot, it doesn’t direct the season like prior premieres. This episode doesn’t deliver a massive refocus as season 2’s premiere, but that’s because its conclusion doesn’t deliver as focused of a direction. Regardless, “The Demon of Death” is still an episode that slips away despite its premiere status.
Ben (Aasif Mandvi) seems needlessly hostile as they investigate a soul’s potential weight. The study delivers a thorough scientific process, which makes his resistance linger on the “angry atheist” archetype.
The demon shown on screen certainly isn’t the demon of death the title suggests. While the plot revolves around the mystery of death, there is a demon with a more carnal domain. As future episodes dive into their respective demons, it does seem to be an inaccurate title. However, the demon of the episode will get further focus in a different episode.
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Final Thoughts
“The Demon of Death” doesn’t stand out as a premiere but provides an interesting procedural episode. As Father Ignatius will become another key character in the series, giving him an entire episode to introduce him is a nice strategy. While it’s not a haunting episode, it still provides a level of camp with interesting characters to pull it off. (3 / 5)
Released in 2010, Rare Exports asks an important holiday question. One that no one else has dared to ask.
What if Santa was a ten-story-tall monster buried under the ice for centuries?
The story
Rare Exports is the story of a little boy named Pietari. After doing what is frankly too much research for a little boy, he realizes that Santa is not the jolly old elf we all think of. He is, in fact, a monster who eats bad children. And it turns out that Santa was trapped in the ice near Pietari’s little town. All this would be well and good if a Russian mining team weren’t in the process of cutting him out of the ice. So it’s up to Pietari to convince everyone of the dark, horrific truth.
Why were the Russians digging in the snow to find Santa? What was the plan there? What happened to Pietari’s mom? And who did they sell the elves to? Do the elves need air or water to live?
We don’t get answers to any of those questions. And frankly, we don’t need them to enjoy Rare Exports.
This is a wild story about a little boy who discovers that Santa is a mythical monster with a bunch of scrawny old men with big white beards to do his evil bidding and eats bad children who haven’t been beaten by their parents enough. What sort of explanation would help this story in any way?
I mean, we could pick apart why it’s suddenly legal to sell people, or at least mythical creatures that look like naked old men, or why this all happened right next to the only little kid who had the exact knowledge needed. But in the end, wouldn’t that be like asking how Santa gets into people’s homes when they don’t have fireplaces? Doesn’t that objective reasoning just piss on the Christmas magic?
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What didn’t work
While Rare Exports was fun, there were parts that I did not appreciate. For one thing, there wasn’t a single woman or person of any color in this film. Literally not one. Not an extra, not in the background. This little Finnish town is populated entirely by white men. And yes, it is Finland and there isn’t a hugely diverse population. But it’s also 2010. People move. Also, women exist.
On the subject of seeing too many white men, we also saw too much of the white men. Specifically, we saw far too many old white male actors entirely nude. There was just no reason for this. These men were portraying elves. They didn’t have to be naked. If they were naked, they didn’t have to have, um, yule logs. Maybe elves are like Ken dolls. There were so many options that didn’t include so much old man wang.
Finally, I wish we’d seen Santa Claus. Not to spoil the ending, but he never actually emerges to attack anyone. And that feels like a cop-out. If we’re going to be teased the whole movie with this depiction of monster Santa, we should at least get to see monster Santa.
Though, after what they did with the elves, maybe it’s a blessing we didn’t see him.
In the end, Rare Exports was well worth watching. It was hilarious, creepy and bloody. And while it wasn’t perfect, it was a delightful holiday horror comedy.
Released in 2016, Christmas Crime Story is about a disastrous robbery on Christmas Eve, and all the many lives impacted by the selfish decisions of one person.
And then, suddenly, it isn’t. But we’ll get to that part.
The story
Christmas Crime Story is the tale of a Christmas Eve holdup gone wrong. We see the story from several points of view, starting with Chris, the detective first on the scene.
Chris is having a hard Christmas Eve. So, on his lunch break, he visits his mom at her diner. It appears that they have a contentious relationship. But nothing is solved in this quick visit.
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Chris goes on to pull over a man speeding. When the man, named David, pulls over, Chris discovers something in the trunk. That something must have been pretty damn incriminating, because rather than open the trunk, David shoots him dead.
We then switch to David’s pov for the night. Then his girlfriend’s pov. Then, the man his girlfriend has been cheating on him with. And on and on we go, until we see how all of these different stories and people come together for a dark, sordid Christmas Eve.
What worked
The first thing I want to say about Christmas Crime Story is that it’s heartwarming. Like, to a fault, which we will be talking about.
The ending is very sweet, in a Christmasy sort of way. Families come together, people are filled with joy, and all is right in the world for almost everyone. Except for Lena, who deserves to have a bad Christmas, everyone gets a happy ending.
That brings me to my next point. The characters, mostly, are all deeply sympathetic. Even when David or James are killing people, you feel bad for them.
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You don’t agree with what they’re doing, but you do feel bad.
You have to feel sympathetic for the man whose girlfriend hired a killer to merk him. Or the woman whose daughter has cancer. Or the guy who just can’t find work, even though he’s trying to make good decisions. You want things to work out for them. You want them to be okay. Even when they do terrible things.
Finally, I always love stories told from so many different points of view. It’s always fun to see a story unfold in a nonlinear way, but in a way that makes more and more sense as we get more points of view. It’s a hard thing to pull off, and I think Christmas Crime Story did it very well.
What didn’t work
Unfortunately, all of the sympathetic characters and clever storytelling methods in the world won’t save a story that doesn’t work. And Christmas Crime Story just does not work.
Let’s begin with the ending. The big twist near the end of the movie. I won’t spoil it, but you will for sure know it if you’ve seen the film. Or, if you waste your time watching the film.
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As a rule, twists work when they make sense. Not when it feels like the writers threw up their hands and said, “Okay, but what if everything we just did for the last hour and fifteen minutes didn’t happen, and instead…”
This wasn’t clever. It wasn’t fun. It felt like the writers didn’t know how to end their movie and just decided to cheat.
Finally, I mentioned earlier that Christmas Crime Story was heartwarming. And yes, that is nice.
But is it maybe a little too heartwarming?
I mean, we have an adorable angel of a child with cancer. Her parents don’t have enough money for her treatment. We have two poor guys who are in love with a black-hearted woman. And we have a detective so sweet and kind that he makes you rethink ACAB. And, he’s about to get married to his pregnant girlfriend. And they’re naming the baby after his mom. And his name is literally Chris DeJesus. His mom’s name is Maggie DeJesus. I tried to think of a sillier less subtle name to use as a joke, and I literally couldn’t think of one.
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They could have at least named him De La Cruz. That would be more subtle, and I still would have complained.
In the end, Christmas Crime Story just missed the mark. It came very close to being a good movie. But it focused too much on how it wanted you to feel, rather than telling a satisfying story that made sense. Much like that third glass of eggnog, it’s fun in the moment and regretful after. If you’re looking for a satisfying Christmas horror, I’d suggest looking elsewhere.
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