Notes from the Last Drive-In: S3E10 – The Little Shop of Horrors and Humanoids from the Deep
Tonight a living legend (who isn’t Joe Bob Briggs) makes an appearance on the show as Roger Corman walks us through The Little Shop of Horrors and Humanoids from the Deep. Can you believe it? Another season of The Last Drive-In with Joe Bob Briggs is over and done. We are also leaving the cabin in New Jersey, where the show has been since the pandemic started. It was a great night with solid movies and a sense of transition that, as we have seen on the show before, may also work as a series finale until Shudder finally confirms season 4.
So, how were the movies? What absurd cosplay did Darcy whip up? How many dogs were killed on screen this week? Let’s find out!
The Little Shop of Horrors (1960)
Opening: There is only one type of gym that gets the Joe Bob seal of approval: a real shithole.
Shot in the tail-end of the 1950s over the span of two days, Roger Corman’s The Little Shop of Horrors is one of those important chapters of film history as a foundational independent project. Roger Corman directed the film, written by Charles B. Griffith. There is some suggestion the film could have been inspired by few other carnivorous plant stories floating around, but that is a murky debate. The film also should not be confused with the later Broadway musical, which was the foundation of Frank Oz’s 1986 film. All of this emphasizes the influence of this film, and more to the point, Roger Corman on the world of film as Drive-In fans and mutants have come to know it.
The Little Shop of Horrors stars Jonathan Haze, Jackie Joseph, Mel Welles, and Dick Miller with a very brief appearance by Jack Nicholson, which became a major part of advertising the film in the decades since release. The whole cast is filled with Corman’s regulars, who could pull together an incredibly tight production. The movie follows Seymour Krelboined, a gardener in Mushnick’s flower shop who raises a strange plant that blossoms when it feeds on blood. What follows is a black comedy with elements of farce, rapid-fire dialogue, and a little bit of then-contemporary spoof. The cast finds themselves learning about the hunger of the plant and sometimes succumbing to it.
As a whole, the film is great. It is worth every bit of praise it deserves, even without factoring in the incredible circumstances of its production and conception. And Roger Corman, more known for his latter role as a producer, has great directorial chops here, rounding up disparate elements into a workable and compelling story. With that being said, sometimes the lassoing of broader ideas is a little more obvious. The dental scene, a classic, feels like more of an aside than a pivotal part of moving the story forward. The entire movie has this quality to an extent, feeling very stitched together but done well. It is just that some of the seams are fairly obvious. Given the speed at which the film came together, even in scripting, this isn’t surprising and is a testament to the talent of everyone involved. These issues are largely ironed out in Frank Oz’s musical adaptation in the mid-eighties, such as dropping the detectives and their narration.
The film does look rough in spots, with an obvious set for the flower shop, but it is also ridiculously charming, especially the Yiddish-influenced, handmade signs. Any time the movie is set outdoors, however, the screen becomes a blobby, shadowy mess. This isn’t uncommon in black and white films, and The Little Shop of Horrors is another example of this reality of limitations in 1950s films.
The film’s draw is the dialogue and the cast that delivers it with an incredible level of old Hollywood energy. Joe Bob mentioned that during the show, and it is something any film fan would be aware of – the dialogue was just faster back in the day. As for the crew, the four highest-billed actors, except for Nicholson, given his minor role, deliver masterclass performances. Jonathan Haze’s Seymour Krelboined is a neurotic, easily bullied bundle of anxiety that plays off every other character. Much can be said about Mel Welles’ blustery, scene-chewing Gravis Mushnick, but his performance is strengthened by the work Haze puts in. Another example of Haze’s talent comes with nearly any scene involving his hypochondriac mother, played by Myrtle Vail. In those moments, hilarious jokes fly fast, and the energy between them is stunning. Of course, Jackie Joseph is also fantastic as Audrey, playing a charming woman, but not adding much else, fairly common for the time, sadly.
It is no shock that Joe Bob Briggs, a Roger Corman super-fan, has high praise for the film. He provided several great details about the production and crew, but the night’s theme was mostly a tribute to Roger Corman, who served as the final guest of the season. Corman stuck around for both films, and his interviews were fascinating, particularly when it came to the craft of film production. It just seems like further evidence Joe Bob needs a second show where he talks to talent.
One of the best bits from the host segment revolved around just exploring how influential Corman was. He is a modest man, so Joe Bob had to do a lot of the direction of the conversation in that regard, seeding stories for Roger to build on. The stories, though? Incredible, such as Roger’s experiencing taking acting classes and the ridiculous number of contacts he established by taking those classes.
The Little Shop of Horrors is a classic film and an important piece of film history. It is not without its problems, however. Those problems made the film a bit more charming and ultimately allowed Frank Oz’s later adaptation to do its own thing – and quite well. They’re two different experiences grown in the same soil, but each stands on its own. Joe Bob Briggs gave The Little Shop of Horrors four stars, which is a fair, reasonable assessment of the movie. I am more of a fan of the musical, but I can recognize the original as the art it is. I still have some hangups regarding the film’s structure, but it’s definitely an objectively great film. I give it four and a half Cthulhus out of five.
(4.5 / 5)
Best Line: “Now, no Novocain. It dulls the senses.” – Wilbur Force, Jack Nicholson’s kinky dental customer.
Humanoids from the Deep (1980)
Opening: Building on the energy of The Little Shop of Horrors… we’ve slowed down as a society.
Ah, Humanoids from the Deep. We are firmly in the Roger Corman production era, and perhaps Roger at his absolute heights as a figure in the industry with this film. Is it the best of the films Roger Corman produced under New World Pictures? Not really. But it is enjoyable and a great slice of what ended up a career retrospective for this evening on The Last Drive-In. The film has all the ingredients necessary for a Drive-In movie and absolutely delivers on all three fronts: blood, breasts, and beasts.
Humanoids from the Deep (or, MONSTER!) is a 1980 science fiction horror film starring Doug McClure, Ann Turkel, and Vic Morrow. Like many movies that show up on the show, this one had a trouble production: the film is nominally directed by Barbara Peeters, but Jimmy T. Murakami’s uncredited contributions are the behest of Corman. The screenplay was written by Fredrick James, based on a story by Frank Arnold and Martin B. Cohen, who served as a producer as well. Another credit of note, the music was handled by none of than James Horner.
The movie follows the local fisherman and community of Noyo, California. They are menaced by brutally escalating assaults by mysterious assailants who turn out to be murderous, raping fish-men from a nearby fishing company. Also, there is a subplot about indigenous cultures being abused by settling whites, themes of environmentalism, and small-town toxicity. There is also a bizarre scene with a puppet. It’s a great movie for Drive-In Mutants. For the normals? Not so much.
The plot is pretty loose, really only stretching a thin story over a few scenes of monstrous encounters. Nothing about the story itself comes off as surprising, either. It’s all very much in line with other films with the same sort of themes, but coming into Humanoids expecting something revolutionary in the narrative is a fool’s errand. Instead, the appeal from the film comes from the discrepancy between the actors and the material, the effects, and the unique way the monsters are handled.
The performances in the film are good, generally, and great surprisingly often. Given the nature of the film, some level of trickery was employed to get the scripts passed from the agents to the actors, and Roger confirmed as much in the show. Specifically, the film was pitched as a “psychological drama,” which is fantastic because that is so not what this movie is. But because a payday is a payday, the actors put their all into it. The performances range from the oddly compelling, if not a bit basic Doug McClure, to the incredibly compelling in Anthony Pena’s Johnny Eagle, to the ridiculously cartoonish villainy of Vic Morrow as Hank Slattery. The fact these actors put so much effort into this movie about killer fish-men snatching up women and slashing up men is astounding.
Oh, and those fish-men are amazing. A sizeable chunk of the film’s $2.5 million budget was wisely spent on the monster costumed by the legendary Rob Bottin (The Thing, RoboCop, The Howling). The monsters are damn good, especially when they emerge from the water. They also hold up incredibly well in a few underwater scenes. They are inevitably a bit goofy looking, as they are bipedal mutant salmon, but the elongated arms and strange features are the scary sides of goofy.
The movie, really, is all just set up from the final twenty minutes or so, featuring a massive attack on a local festival by the fish-men. It is a tight little film at under 80 minutes, but the story is mostly treading water until the attack. The film also, and perhaps most novelly, shows the monsters early on. Most creature features obscure the monster until the end. With Humanoids from the Deep, you’ll have seen at least a couple of the monsters in full during graphic sexual assaults or bloody slashing by the end of the first third of the film.
Joe Bob’s host segments continued to pull great anecdotes out of Roger Corman, especially on whether people can still produce films his way in today’s industry. To summarize Roger’s exquisite point: it’s hard today but still possible. Most of the other segment highlights were the increasingly absurd “six degrees of Roger Corman” reveals that emphasize his importance to cinema as a whole. Gale Anne Hurd? Martin Scorsese? Roger had a hand in shaping their careers. It’s astounding, really.
Humanoids from the Deep isn’t what you could call a great film, but it is a great movie if we believe such distinctions exist. Humanoids is entertaining and has a certain limited cultural relevance, but it’s not for everyone. This one is for the Mutants. By that assessment, Joe Bob Briggs’ four-star rating makes sense. I swim in a bit of a different stream in my reviews, though. I think it is a ton of fun and one I’d watch again and again, but it’s not one I would argue is great. I’d give it about three and a half Cthulhus.
(3.5 / 5)
Best Line: “Oh, come on, show me more than the head.” – Becky, talking about a ventriloquist dummy.
Haunted MTL Drive-In Totals
Our final drive-in totals of the season. I miss them already.
As for our totals:
- 2 day shoot
- 4 Yuki Sightings
- 6 Degrees of Roger Corman
- 9 gym rules
- 14 dead dogs this season
- 67 years of Roger Corman films
- Flower Eating
- Self Medicating
- Vulture Joking
- Rapid Fire Dialogue Fu
- Self-financed Fu
- Darcy Cosplay: Audrey (the 1986 version), and a Humanoid… from the Deep!
- Silver Bolo Award: Good Bad Flicks
Episode Score
Tonight seemed to be the end to what I hope will be dubbed the “Cabin in the Woods”-era of the show, which means I also hope we’ll have multiple eras of The Last Drive-In. I know my criticisms of the isolation of the cabin set and some remote guests have been a running theme through my reviews of the season and the previous specials. Still, I ultimately feel this will be a nostalgic chapter of our collective Drive-In experience. It’s interesting how seeing Joe Bob and Darcy (in Humanoid cosplay) evokes that nostalgia, which of course, is the overall reason why Mutants tune in week to week to watch the show on Shudder, to begin with. Nostalgia, whether drawn from movies we know, or even the comforting presence of a guy in a bolo tie drinking beer and waxing wise about a movie, is something that we needed to get through the last year or so.
So, I guess while I had my gripes with the cabin, I am ultimately going to miss it. Funny how that will work – there will be the inevitable nostalgia. I think we’re going to be able to continue building memories of the show for a while to come. The slickly-produced Drive-In Oath between the two films felt like something you would produce for a show you plan to keep around, not send-off. Time will tell. Regardless, as with every season and special, we come to a close with a wistful Joe Bob and something that can work as the last Last Drive-in.
(4.5 / 5)
Lastly, if you want a little more Joe Bob while you wait for the next special, consider Join Darcy’s Patreon, The Lost Drive-In. I am a member and have already received a great Blu-Ray full of great Joe Bob bits from his previous shows. She also posts fun clips from the archives on show nights, so there is a ton of stuff you can enjoy.
Early 2000s is a special era for the industry. It accepts the cheesiness and corniness of movie making, in turn producing some gems in their own right. Eight Legged Freaks starring David Arquette and young Scarlet Johanson is a horror comedy about giant spiders who overtake a small town. As crazy as that premise sounds, the movie surprisingly has a ton of heart and is super entertaining. Let’s review, shall we?
Plot
We start Eight Legged Freaks with a shot of toxic waste spilling into the water supply of Joshua, a spider farm owner. He is friends with Mike, one of our protagonists, who is a science geek and a spider enthusiast. Mike notices something quite right upon visiting Joshua, but no one takes him seriously. We are then introduced to the rest of the crew. Mike’s mother Samantha, the town sheriff, is too busy chasing Ashley, his sister, who is dating the town mayor’s son Bret (something Samantha does not approve of). We also have Chris, who returns to the town to save his father’s legacy in the town mines. He has opposition from Wade, Bret’s father, who wants to use the mines for his business ventures. Lots of drama going on that will only get juicier once the spiders get loose.
The creepy crawlies quickly dispose of Joshua and make their grand appearance after Ashley rejects Bret’s advances, abandoning him in the middle of a desert. A glorious chase sequence ensues as the spiders make their way towards the town, wreaking havoc on its residents. In a true horror fashion (which the movie acknowledges), it takes some convincing from Mike and then from Samantha for the town to take the threat seriously. The tongue-in-cheek style of narrative adds the comedy aspect to a movie that would otherwise burn out fairly quickly.
The remaining characters hide out in a shopping mall as it’s the only somewhat sturdy building in the area. This doesn’t last long as the spiders break in, forcing them to run through the mines. Their resources to fight the creepy crawlies off are limited as the methane gas doesn’t allow them to use firearms. Such conditions require resourceful thinking from Chris, who uses perfume to fend off the leader of the spider group and save himself during the climax of the movie.
Character dynamics are not forgotten once the action kicks in. We have Chris confessing his long-term feelings for Samantha which she knew all along, which provided some comedic relief. Bret also reunites with Ashley and apologises for being an asshole. Mike finally gets the appreciation he deserves as his knowledge saves the townsfolk more than once during the whole ordeal.
We end the movie with the town’s radio show person telling the story as an urban legend during his segment. This brings it into question – how much of it happened the way he said it did? We can only guess…
Overall thoughts
Eight Legged Freaks is a fun creature feature with some self-aware commentary on genre tropes that doesn’t take itself too seriously. The acting is good, the pacing fitting and the characters are likeable enough for you to want them to make it through. Definitely a must watch, if you don’t suffer from arachnophobia, that is.
(5 / 5)
![Eight Legged Freaks [Blu-ray] [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2T0RFNGFuZ3lUMUpJYzB3dVgxTk1NVFV3TUY4dVgxTk1NVFl3WHk1cWNHYz18MTc0MjAyMzM2Mw=)
- What do you get when you cross toxic waste with a bunch of exotic spiders? Eaten! The townies of Prosperity, Arizona will all become a screaming smorgasbord if mutated arachnids as big as SUVs have their way in this comedy/horror crowd pleaser whose creators include the producers of Independence Day and Godzilla
- Spiders that leap like gazelles, web-spitting spiders, spiders that suck your insides out as if through a straw—they’re all among the behemoths conjured up by an inventive effects team
- David Arquette (Scream) leads the two-legged stars, mobilizing the citizenry in a last-ditch fight to survive
Last update on 2025-03-10 / Affiliate links / Images from Amazon Product Advertising API
Marvel’s favorite one-man wrecking crew is back, but let’s be real—this isn’t just a Daredevil reboot, it’s a goddamn resurrection. The Netflix show was peak Marvel TV, a brutal, blood-soaked opera of fists and Catholic guilt. And now? Now we see if the Mouse has the stomach for it.
Back at Josie’s – A Familiar Start, No Training Wheels
We open in Josie’s Bar, and thank God for that. None of that “Where has Matt been?” slow-burn nonsense—just straight into the good stuff. It’s him, Foggy, and Jessica..err..Karen, knocking back drinks in the same dive we’ve come to love.
![Marvel's Daredevil Seasons 1 & 2 [Blu-ray] Complete Netflix Series](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2T0RGd1FXcHVZV1k1YUV3dVgxTk1NVFEzTVY4dVgxTk1NVFl3WHk1cWNHYz18MTc0MjAyMzM2Mw=)
- UK DVD Region 2 by Erectogen Idealistic lawyer Matt Murdock (Charlie Cox), along with his long-time friend Foggy Nelson (Elden Henson), uses his newly established firm to tackle the rising levels of criminal activity in New York City
- By night however, Murdock – who was blinded by a chemical spill as a young boy – uses his heightened senses to fight crime on the streets as vigilante Daredevil
- With the influence of underworld kingpin Wilson Fisk (Vincent D’Onofrio) continuing to grow, Murdock faces a fight on two fronts to keep the city safe
Last update on 2025-03-09 / Affiliate links / Images from Amazon Product Advertising API
This is Daredevil as it should be: dark, dirty, and two drinks away from a bar fight. No need for a reintroduction, no awkward exposition dumps—just throw us in and let us swim.
Personal Take: This was the right way to start. No fluff, just boom, back in Hell’s Kitchen. That down-to-earth, street-level grime we loved is still here. But then—
Bullseye’s Ambush – AKA Who the Hell is This Guy?!
Enter Bullseye—except if you don’t already know him, you wouldn’t even know it’s him. In fact, ol’ Jimbo had to Google Reverse Image with ‘who the hell is this guy?’ Maybe I missed the ‘last season recap’ button.
One second, Foggy’s making lawyer jokes. The next? He’s got a bullet where his personality used to be.
And here’s the problem: If you never watched Daredevil Season 3 which was what? 30 years ago? Or kept up with Marvel’s deep cuts, this fight has zero emotional weight. It’s just some guy attacking some other guy, and a character we liked gets smoked in the process. I honestly didn’t know who the guy was, so I thought it was just some schmuck low level dude. After googling it…I have a VAGUE recollection of who he was.
Personal Take: This should’ve been a gut punch, but it lands like a lukewarm slap. If you know Bullseye, it’s huge. If you don’t? It’s just another action scene with no setup. Also, this dude has more knives than a goddamn Hibachi chef. Where is he even keeping them all?
The Rooftop Fight – Matt, My Guy, What Are You Doing?!
Now, the fight? Brutal. Perfect. This is what we came for. Matt vs. Bullseye, rooftops, fists flying, bodies slamming into brick walls—it’s exactly the kind of fight that made the original series legendary.
But then… Matt takes off his helmet. Maybe the 3897239428374237842397432 knives sticking out of Matt made him a bit woozie. But wouldn’t he keep that on? I mean not like there’s a copy sneaking up on a guy who can hear a heartbeat of a poodle farting 300 miles away.
What in the name of blind Catholic guilt is happening here?! He just lets a cop sneak up on him? This is Daredevil, the guy who can hear a heartbeat through a concrete wall, and he doesn’t notice an entire cop creeping up behind him?
Meanwhile, Bullseye? Still pulling knives out of nowhere like he’s a goddamn magician.
Personal Take: The fight’s phenomenal, but Matt taking his helmet off is some straight-up horror movie logic. Dude, why?!
Wilson Fisk for Mayor – Did We Miss a Memo?
The Kingpin is back—but wait. Didn’t he get shot in the face in Hawkeye? Like RIGHT in the fucking face!??
No scars. No limping. No “Hey, that bullet wound sure sucked” speech. Just fully intact Fisk, now running for mayor like he didn’t just eat a bullet last time we saw him.
Personal Take: This feels like they wanted you to watch Echo for answers, but who actually watched Echo? Also, Fisk running for mayor makes sense, but it’s been done before. If they’re going to keep him as the villain, they need to give him something new.
Matt’s New Love Interest – Who? Why?
Now, Heather Glenn enters the chat.
And listen—nobody cares. Karen worked because she wasn’t just a love interest. We saw her character grow, we invested in her. Heather? She’s just here because Karen isn’t.
Personal Take: It’s forced. No build-up, no intrigue—just, “Here’s a new love interest, enjoy.”
Final Verdict – A Strong Start, But Not Magic Yet
This episode does a lot right—
✔ The fights are still phenomenal.
✔ Charlie Cox is still the perfect Matt Murdock.
✔ Hell’s Kitchen still feels real.
But…
✘ Bullseye is a mystery if you didn’t watch Season 3 YESTERDAY or have a memory like a steel trap.
✘ Foggy’s death feels more like actor scheduling than good storytelling.
✘ Fisk just appears back like nothing happened, and that’s weird.
Final Rating: 4 out of 5 Cthulhus—Good. Not perfect. Cautiously optimistic.
(4 / 5)
Your Turn – What Did You Think?
Did Born Again Episode 1 hit for you? Or did you have that same something-feels-off reaction? Drop your thoughts below, let’s talk Daredevil.
Movies n TV
“How to Split an Atom,” a Scientific Return to Evil
The assessors return to investigate a particle accelerator with a damning history in “How to Split an Atom.” Season 4 Premiere of Evil.
The assessors return to investigate a particle accelerator with a damning history in “How to Split an Atom.” David (Mike Colter) can’t seem to shake off the dire warning of his vision. Kristen (Katja Herbers) reaches her breaking point. Ben (Aasif Mandvi) sees the light and faces some uncomfortable realizations.
“How to Split an Atom” is the first episode of season 4 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.
What I Like about “How to Split an Atom”
While “How to Split an Atom” does start in season 3’s conclusion, it’s still a satisfying introduction through Kristen’s reaction alone. While it’s less effective and necessary in the era of streaming services, it reminds viewers of the last season’s execution to re-establish tension.
“How to Split an Atom” sets Kristen and Ben to face their most personal challenges. While Kristen often gets a good amount of material to explore, Ben receives the least development of the three assessors. Now that the titular scheme suggests a scientific focus, Ben seems to earn more attention.
- In the final season, Kristen, David, and Ben continue to assess cases that involve wayward technology, possessed pigs, demonic oppression and infestation, a dance muse conjured by alleged witches, and an evil relic
- Throughout, Leland attempts to lure Kristen into raising a baby antichrist who was conceived with her ovum
- David is recruited by the Vatican’s secret service to remote view a paranormal ability to see the unseen to detect evil
- From creators Robert King and Michelle King (The Good Wife), Evil is a critically acclaimed psychological mystery series that examines the origins of evil along the dividing line between science and religion
- A skeptical female psychologist (Katja Herbers) joins a priest-in-training (Mike Colter) and a contractor (Aasif Mandvi) as they investigate the Church’s backlog of unexplained mysteries, including supposed miracles, demonic possessions, and hauntings
- This 13-disc collection includes all 50 episodes, along with deleted scenes and more!
Last update on 2025-03-03 / Affiliate links / Images from Amazon Product Advertising API
In comparison, David takes a step back, but the performance shows a man haunted by his vision. You see this conflict in his performance as he seems more held back and reserved throughout the episode.
Though far from unique to this episode, I haven’t yet found the opportunity to dive into the opening credits. These credits embody the idea of evil as an intrusive force against the good. It visibly displays the famed “problem of evil,” showing how the darkness intrudes against the light.
“How to Split an Atom” prepares the viewer for a new norm across every character. While that doesn’t evoke a truly haunting experience, it remains effective in building the foundation for the final season of Evil.
Tired Tropes and Triggers
Andy (Patrick Brammall) spirals in this episode, induced by trauma and manipulation. His interactions with Kristen showcase several toxic behaviors. While these issues hold merit and other forces manipulate him, this might not matter to some.
Though not directly stated, a minor character seems to suffer a psychotic break, leading to their death. “How to Split an Atom” doesn’t confirm if this is a suicide, a demonically assisted act, or a complete accident.
What I Dislike about “How to Split an Atom”
“How to Split an Atom” explores a similar titular scheme as last season, but it doesn’t resonate as well. It feels like it retreads season 3, focusing instead on science but still lingering in a similar design.
There’s a strange scene where Sister Andrea and David speak in a low whisper despite being alone in her room. If “How to Split an Atom” wants to imply that spies listen in, “How to Split an Atom” doesn’t show this idea effectively. However, I think it’s intended to parallel Catholic confession, but it still doesn’t make logical sense in execution.
As streaming shows become standard practice, starting a new season in the prior season’s conclusion makes the episode more dependent and repetitive. While the execution remains effective in “How to Split an Atom,” I can’t help but linger on that thought.
Final Thoughts
“How to Split an Atom” establishes a definitive timeline where all the forces of Evil will collide. It has its strengths but doesn’t haunt the viewer. The ramifications of Ben’s descent and Kristen’s breaking point keep this episode from blending into the background, but only slightly. (3.5 / 5)
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Daredevil: Born Again Episode 1 Recap & Review – A Cautious Stumble into Hell’s Kitchen
