Notes from The Last Drive-In: S2E9
Well, that is the second season of The Last Drive-In with Joe Bob Briggs. There were no signs of a sophomore slump this season as the show iterated on the first season in a few ways. We also were treated to some really historic moments in Drive-In history, playing off of things from clear back in the days of MonsterVision.
As of this moment, The Last Drive-In season 3 has not been confirmed but I think we can afford to be optimistic. Considering the show rising up the trending algorithm all nine weeks on Twitter and the larger profile the show has built thanks to a global pandemic, Shudder would probably like to keep up the conversation and subscriptions that the show brings in.
As for the season finale? We get two visions of hell by seeing the sights of Hellbound: Hellraiser II and taking a trip and checking out Hell Comes to Frogtown.
Hellbound: Hellraiser II (1988)
Opening Rant: The need for physical media in a largely corporate-curated world.
Hellbound: Hellraiser II is a worthy sequel to the original Hellraiser, previously on The Last Drive-In during the original marathon. Some would argue that the sequel may be better than the first film, and it’s not hard to imagine why. Hellraiser II was a major film that set the trajectory of the series and also presents a real lost opportunity. The film takes place moments after the previous films and finds Kirsty (sans-boyfriend) in an asylum, having been treated like a madwoman given her sharing her experiences with the Cenobites. Sure enough, her warnings go unheeded and a manipulative Dr. Channard claims the mattress where Kirsty’s evil stepmother Julia met her end. Then Julia comes back and the movie gets nuts.
It’s a good movie. A bit familiar in a number of ways. The Cenobites aren’t quite as shocking, and the Leviathan is a conceptual misfire. The asylum elements remind too easily of A Nightmare on Elm Street 3: The Dream Warriors down to having a gifted patient in the mix. The Cenobites are kind of wedged in and don’t do much in order to prop up the concept of the Leviathan.
What works, though, are the performances by Clare Higgins and Julia and Ashley Laurence as Kirsty. The film is largely on the backs of these two women: a manipulative and monstrous Julia, more terrifying and assertive than Frank ever was in the first film, and shrewd and clever Kirsty who is in the upper-echelon of horror heroines who deserve way better.
Joe Bob addressed the odd and uneven nature of the movie surrounding Julia. Clive Barker intended Julia to become the major antagonistic force of the series but the Cenobites essentially stole her thunder, which is a real shame because Julia is probably one of the most compelling and interesting horror villains basically ever. One envisions another Hellraiser series in another universe where Julia remained beyond Hellbound and there becomes a dual-threat of Cenobites and Julia, fighting for control of Hell.
The highlight of Joe Bob’s host segments came down to Ashley Laurence and Doug Bradley, Kirsty, and Pinhead himself, taking time to chat with our favorite movie host. They each had a moment to speak to Joe Bob one-on-one, but they also managed to have a more delightful triad of discussion. Ashley, who can be found on Twitter, does some great painting and she got to hold Ernie (!) playing on her appearance in a GEICO commercial. Doug Bradley is wonderfully classy and doesn’t wear the Cenobite makeup lately, but he can be found reading Mary Shelley’s Frankenstein on YouTube.
Of course, we can’t forget Hell Priest Ernie, chained Joe Bob, or Cenobite Darcy, either. It was a fun night.
I love Hellbound: Hellraiser II about as much as I love the original Hellraiser. I also think about the lost opportunity of Julia driving the franchise and while I cannot hold that against the series it does present an interesting “what if?” It’s still a good sequel, maybe not the sequel the series deserved, but a good sequel regardless. Joe Bob gave the film four stars, a well-earned four stars given the potential failure a sequel presents. I give Hellbound: Hellraiser II four and a half Cthulhus.
(4.5 / 5)
Best Line: “It is not hands that summon us. It is desire.” – Pinhead
Hell Comes to Frogtown (1988)
Opening Rant: Five reasons not to be a polygamist.
Ah, yes, Hell Comes to Frogtown. A slice of 1980s cheese I had always heard of but never saw. It’s a goofy film and while I don’t know if it was the best film to leave the season off with, it was totally worth watching and I am sure to check it out again, and again, and again. It’s not a movie that can be made today and elements of it are still particularly cringe-inducing, but as a relic of another era it’s completely worth preservation and The Last Drive-In seems like the perfect way to do that.
Hell Comes to Frogtown stars the legendary wrestler “Rowdy” Roddy Piper as Sam Hell, a particularly virile man who is conscripted by the provisional government to impregnate women all across the wasteland of America. He travels with a pair of these warrior-nurses to the titular Frogtown to recover a group of fertile women who have been kidnapped as sex-slaves by mutant, humanoid frogs. It’s a classic story we’ve all seen before, but have we seen it with the delightful commentary of Joe Bob Briggs? Well, we have now.
The movie’s handling of women as sexual objects and the implications of forced impregnation are pretty horrifying to modern sensibilities and the movie plays it off as a hyper-masculine joke. The film really, largely works due to the earnestly goofy performance of Roddy Piper who makes Sam Hell are largely sympathetic and funny protagonist, dipping into the well of Kurt Russel’s Jack Burton-school of bumbling heroes. Piper does get to play the hero, particularly toward the end, but the film largely plays Sam as comedic and it works all the better for it.
The film is audacious in the world it builds, largely shooting in deserts and and a run down factory, the film makes the most of the post-apocalyptic setting and that money instead goes into the largely amazing frog prosthetic pieces. Some of the frogs are more hybrid and less impressive than others, but the major feature players are absolutely incredible for 1988 and a 7-million dollar budget.
Joe Bob appreciated the pulpy energy of the film. It also helps that it featured MonsterVision fan and friend, the dearly departed Piper. Among some of the knowledge, bombs dropped on viewers are the history and work of Donald G. Jackson and some Roger Corman connections (because who else?) Joe Bob was particularly enthused, saying Donald G. Jackson was a long-overdue director on The Last Drive-In. Perhaps one of his infamous rollerblading films may show up in season three? Of course, Jackson had a long career in the industry as some of these drive-in directors tend to do, having worked with Roger Corman and James Cameron. Most notable among Jackson’s associations, however, was his collaboration with Scott Shaw and the development of what they called “Zen Filmmaking” – a largely script-less form of movie-making.
Joe Bob Briggs gave Hell Comes to Frogtown the four-star treatment which is a pretty fair assessment with how well it fits into The Last Drive-In‘s wheelhouse. It’s not my favorite choice to end the season, skewing a bit too far from the horror genre, but it’s still pretty damn fun. I give Hell Comes to Frogtown three and a half Cthulhus.
(3.5 / 5)
Best Line: “Hey, you try making love to a complete stranger in a hostile, mutant environment, see how you like it.” – Sam Hell
Haunted MTL Drive-In Totals
These are the last Drive-In totals of the season. Quite a lovely collection. Thank you, Shudder.
Our Totals?
- 174 Sequels
- 2 Jail sentences for Darcy
- 7 Roller Blade films
- 3 Frogtown Endings
- Double Guest Fu
- Censorship Fu
- Chainsaw Surgery Fu
- GEICO Fu
- Glass Bottle Fu
- Badass Name Fu
- Brain Surgery Fu
- Joe Bob Chaining
- Lament Configurating
- Demon Summoning
- Ernie Holding
- Teen Slapping
- Teeth Chattering
- Dick Beeping
- Wedding Joking
- Goopy Mattress
- Frickassied Frank
- Hellraiser Philosophy
- Gratuitous Candles
- Gratuitous Frog Burlesque
- Gratuitous emotional Joe Bob Briggs solo song
- Laser Floyd Finale
- Tactical Lingerie
- Extended Hallway Running Sequence
- Bonus Yuki Cosplay
- Silver Bolo Award: The Horrors of it All
- Darcy Cosplay: Hell Priestess Darcy
Episode Score
The season finale did the job of providing a great episode should the show continue further while also creating a potential ending should the show not move forward. While this ending wasn’t as flash as season one’s prom for Darcy, there is something touching about what we ended up getting this time around: Joe Bob Briggs, voice cracking, singing the theme accompanied by a frog guitarist.
If this is the end of the ongoing series that’s a pretty fitting coda to what has been a great treat for the horror community in an especially hard time. We know a summer marathon is on the way and more than likely we’ll be seeing a third season of the ongoing show.
But if this is the final full season, I think it went out in a really appropriate way.
(4.5 / 5)
That’s it for the Notes from The Last Drive-In for a bit. Thank you all for reading these recaps over the past nine weeks. Let me know what you think. I write these things for us and I would love to know what the MutantFam wants to see out of 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.
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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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM5NjA4Ng=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM5NjA4Ng=)
- 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)
