Notes from the Last Drive-In: S3E6 – Maniac Cop and Maniac Cop 2
Welcome to Notes from the Last Drive-In where this week we go sequel-mode to Maniac Cop and Maniac Cop 2. We’ve not had a double feature of two films in the same franchise since the Halloween Hootenanny, so tonight is a rare treat. So, how do Maniac Cop and its sequel fair? Did Shudder dig too deep?
Maniac Cop (1988)
Opening: Psychics in our midst.
Ah, Maniac Cop. This 1988 crime horror film probably could not be made today given the level of tension surrounding law enforcement, and that is probably for the best because the existing film is already perfectly suited for its time. Maniac Cop is the result of the incredible team-up of the late Larry Cohen and director William Lustig. The film also features a remarkably stacked cast including Tom Atkins, Bruce Campbell, Laurene Landon, and Richard Roundtree. The movie belongs, however, to Robert Z’Dar as the titular crazy cop. The movie itself isn’t overly complicated with a ton of plot to get in the way – a vaguely undead cop, wronged by the system, returns to life and exacts violent vengeance on the city. Not a lot here, but the film does well with this stripped-down concept.
The film uses its setting very well, building off the scary New York City of the 1970s and 1980s that worked its way into so many crime films of the time. It is a perfect backdrop for a story about the corruption of justice framed around a hulking cop bashing heads in. And boy, do people get messed up in this movie. Z’Dar’s Officer Cordell is a monster. He offers up an incredible silhouette against the backdrop of night, perhaps looking even bulkier than Jason Voorhees. Z’Dar’s role is mostly mute, but there is an undeniable presence to the character, so it isn’t hard to see why three films were made, with him returning for all three. Tom Atkins and Bruce Campbell, two leading men, play a form of a relay in the film with the role of lead protagonist switching from one to the other about two-thirds of the way through the film. It’s novel, at least, but between the two of them, Atkins should have carried the movie through to the end. Campbell is fairly flat, here, playing it straight. Atkins gets most of the actual development, Campbell gets a couple of action scenes.
The story is simple but perhaps overly so. The film also has a number of contrivances that allow it to move from set piece to set piece, including a particularly fun chase scene, but again, the plot is a secondary concern here, though perhaps maybe that shouldn’t have been the case. Still, elements of the film have a certain, and unfortunate, timeless quality. Issues of police violence against citizens and corruption of the legal system still persist to this day and were not necessarily new things when Maniac Cop was released. This is a grindhouse film, through and through, and one of the last of them.
The big bit of the first half of the night was the interview with “the chin” himself, Bruce Campbell. The remote-format interviews this season, given their necessity, have been fine. Would it be better to have Bruce Campbell at the cabin, sitting on the porch have been better? Undoubtedly. But these scripted interactions are still very much fun and generally showcase the guest in such a way as to remind us why we like them. Bruce was every bit as charming as he has been known to be across the convention scene and on movie sets. It’s almost like popping in on an old friend. His stories and recollections were welcome – and will surely be welcome again once Joe Bob and company return to the trailer. The night was also a reminder of the wonders of Larry Cohen, one of the finest writers in film, who left us in 2019. It seems to me that there are two kings of the drive-in movie, and Cohen is one of them, the other being Roger Corman.
Joe Bob Briggs gave Maniac Cop four stars, which seems fair to me. I have been poking fun at his generosity a bit this season, but a movie like Maniac Cop just hits all those marks for the type of movie we love at The Last Drive-In. It’s a grindhouse movie that plays fast and loose with storytelling in order to get to the next fun part? But you know what? That’s perfectly fine. Plus, it has Robert Z’Dar casting one of the most imposing silhouettes in film history, so that is a bonus. As for me, I do have my concerns with it, but Maniac Cop is a solid four out of five Cthulhus.
(4 / 5)
Best Line: “Look at the size of those hematomas!” – Frank (Joe Bob was totally right about this one)
Maniac Cop 2 (1990)
Opening: Renaissance Faires, emphasis on the “e” in faires.
The back half of the evening revolved around 1990’s Maniac Cop 2. A solid sequel with an even greater make-up job on Robert Z’Dar as the titular maniac cop. The film again reunites writer Larry Cohen and director William Lustig, the second out of four times working together, and builds on the insanity of the first film, wiping out the remaining cast of the first movie. The film also does some interesting things with officer Cordell as well – he is still ill-defined as living or dead, but he does have some surprisingly new depth as well. Maniac Cop 2 stars Robert Davi, Claudia Christian, Robert Earl Jones, and Leo Rossi, with Z’Dar returning as Cordell. The film also has two blink-and-you-miss-it cameos with Danny Trejo and Sam Raimi.
Maniac Cop 2 is the better of the films, a rare example of the sequel being better than the original. Yes, I am comparing Maniac Cop 2 to The Godfather: Part II or Toy Story 2. It offers a stronger story than its predecessor, a more interesting, arguably richer take on the antagonist, and a better overall protagonist. It also blows past the first film regarding spectacle, with the last 30 minutes being a non-stop unfurling of chaos. Everything seems bigger and better. Z’Dar is at his best here as Cordell, and the make-up work on him this time around is even stronger. The addition of Leo Rossi as serial killer Steven Turkell is genius. He chews the scenery, and his unlikely team up with Cordell creates some fantastic complications for Robert Davi’s Lieutenant McKinney. It builds on everything established in the first Maniac Cop and makes for a fuller experience overall.
It is still a grindhouse type of film, though, so logical leaps, inconsistent characterizations, and going for what would be most “cool” come fast and frequent in the movie. Does Cordell being able to throw a man through a cinderblock wall make sense? Not really. It is just something you accept in a movie like Maniac Cop 2. The film also makes it very, very clear you don’t need to see the original to enjoy this one, given the amount of reused footage from the first film. It makes it charmingly accessible, if not a bit redundant.
The second guest of the evening was William Lustig. His enthusiasm was fantastic and his stories about old grindhouse theaters, bouncing back and forth with Joe Bob about New York and LA in the 1970s and 1980s were immensely entertaining. The remote format worked well enough here, but with any luck Lustig will be back on the show, in-person. His personality is too enthusiasm not to have on set and the collective film knowledge between him and Joe Bob Briggs in these segments was dizzying. Overall, an excellent guest who took his segment and ran with it.
Joe Bob Briggs gave Maniac Cop 2, unsurprisingly, four stars. I won’t poke fun of him here; the film is every bit a refinement of what made the original Maniac Cop so special. It has just about everything you’d want in an NYC-set horror film involving an undead cop – even more so than the original. Maniac Cop 2 is a four-and-a-half Cthulhu film.
(4.5 / 5)
Best Line: “I can’t let someone out on the street with a gun that has emotional problems.” – Susan (if only this was true)
Haunted MTL Drive-In Totals
As always, Shudder has those drive-in totals straight from the show.
As for our own totals we have:
- 2 remote guests
- 5 drive-in legends
- 2 thugs 1 cop
- 80s worship
- 90s rap theme
- Stripperama
- Attempted Muggery
- Patrol Beats
- “thee-ater”
- “debutt”
- Let’s learn about Cherubism!
- Chainsaw ranting
- Irish joking
- Frog joking
- Yuki Count: 3
- Silver Bolo Award: Cadavercast
- Darcy Cosplay: 2, Tom Atkins and the Maniac Cop.
Episode Score
A fine night at the drive-in, frankly. The crew is doing the best they can with the remotes and has adapted rather well to the challenges of the Coronavirus. Hopefully, by season four, we’ll be out of the woods and back in the desert. There were some other fun bits in the episode worth mentioning as well. A nice tribute to Joe Spinell closed out the Maniac Cop 2 credits, which was a touching tribute to the original Maniac. Joe Bob got a gift in the form of a 1990-91 Mark Jackson basketball card, infamous for the Menendez Bros. sitting in the background. And there was another brief chapter in Joe Bob’s ranting about chainsaws being a terrible weapon – the second in as many weeks.
But hey, no dead dogs this week.
(4.5 / 5)
See you next week, folks. We continue to live-tweet the fun at the Haunted MTL Twitter account, so why not give us a follow there?
Episode two of Dexter, Original Sin, was just as wonderful as the first. As a long-time Dexter fan, I find it added so much to the background of the story. And if you’re a new fan, I promise you won’t feel left behind.
The story
At the start of our episode, Dexter is learning the ropes of his new internship at Miami Metro. He’s getting a little hazing but is learning how to fit in.
Especially when he starts digging into the old files and finding new playmates for his Dark Passenger.
Meanwhile, Deb is struggling. She feels underappreciated and ignored at home. So, she decides to steal some jewelry from around the house for some quick spending money. Having little in the house in the way of jewelry, she happens upon a pair of earrings in Dexter’s room.
Nurse Mary’s earrings, to be specific.
And finally, in what will probably be the storyline for the series, a little boy is kidnapped. While he looks like a victim from the first episode of Dexter, or at least dressed in the same school uniforms, we soon find out that he’s the son of a judge. And his kidnapping might have something to do with the death of Dexter’s biological mother.
What worked
I’ve often complained about slow episodes in a TV season or mini-series. The episodes that just don’t have anything going for them. The episodes that are needed to set up the story, but otherwise are kind of dull.
This is an example of that sort of episode done well. It is true that there were no murders in this episode. There was only one dead body, and it was already dead when we got there.
But that didn’t mean the episode was uninteresting. There was character development. There was comedy. And most importantly, it had a storyline that had a satisfying conclusion. Specifically, Deb stealing Dexter’s trophy earrings and trying to sell them.
This little storyline worked on so many levels. One, it heightens tension because we know those earrings can lead the police to Dexter for the murder of Nurse Mary. Two, it shows how frustrated Deb is with her life and how far she will go to have a little fun. Three, it shows how far she won’t go when she refuses to sell her mother’s pearls. And four, it gives us a satisfying beginning, middle, and end of a story while we’re doing the necessary work of laying a foundation for the rest of the series. This was a masterclass in subplots.
I also want to point out that, so far, this series works by itself as much as it works as a prequel. I would watch Dexter Original Sin if I’d never heard the name Dexter Morgan before. And while it certainly benefits from its predecessors, it isn’t only relying on that.
What didn’t work
All that being said, I’m afraid there is still one glaring issue with this series. I hate Gellar’s character.
Yes, I am biased. But hear me out.
Tanya is supposed to be Dexter’s mentor. She got him the job as a paid intern. It would stand to reason that she did that because she wanted to take him under her wing. And yes, I am aware that a certain kind of teacher likes to knock their students down a peg or two. But she seems more interested in proving what a Strong Female she is to this college student than actually teaching him.
And frankly, this is some of the most sexist stuff I’ve ever seen on Dexter. This show has a long history of being pretty good about gender relations. It passes the Bechdel test. All of the female characters have flaws, strengths, and personalities. It’s almost like they’re, gasp, real people. None of them have been the girl hero with no personality other than being the Strong Female until Tanya was introduced. And given how similar she is to Buffy, and how unlike the rest of the cast this character is, I sense some meddling from Gellar herself.
Do better.
I am so pumped for the rest of this mini series. It is clear that everyone working on this series, except Gellar, are huge fans of the original show. Everyone is going a great job, the story is great, and I cannot wait to see what happens next.
(4 / 5)
Movies n TV
Heretic: ‘It’s a simple choice that should not be made simply: Belief or Disbelief?’
‘It’s a simple choice that should not be made simply: Belief or Disbelief?’
A24‘s chilling religious horror film, Heretic, arrived in theatres this November, forcing viewers to confront the unsettling line between faith and doubt. Directed by Scott Beck and Bryan Woods, this edge-of-your-seat thriller will leave audiences deeply disturbed as Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) pass over the threshold of Mr. Reed’s (Hugh Grant) home where they undergo a terrifying experience that shatters their beliefs.
The Plot.
Sister Barnes and Sister Paxton are Mormon missionaries for The Church of Jesus Christ of Latter-day Saints. As the opening scenes roll they are visiting houses in an unnamed, rural Colorado town. These houses are from a list of people who have shown interest in joining the church. After being rejected and ignored several times, they arrive at the door on Mr. Reed, a pleasant gentleman who invites them in the discuss the church, promising his wife is home in the kitchen to put the Sister’s minds at ease.
Welcoming the women to sit in his living room, Mr. Reed initiates what amounts to be an awkward conversation, questioning the faith of the missionaries. Sensing that something is amiss, with Mr. Reed’s wife still not coming to meet them and a storm brewing outside, the women decide it is time to leave. Sneaking to the front door when Mr. Reed leaves the room they find the front door locked, and the only way out is to go deeper into the strange house.
Highlights.
I have never really understood the appeal of Hugh Grant. I found him lackluster in Love Actually and just plain annoying in Bridget Jones’s Diary. After watching Heretic though I think the problem is that his career focus has been on the wrong genre. Hugh Grant is terrifying, but not in the conventional sense, in the creepy religious uncle that you only see on Boxing Day sense. It might be in the jerky way Mr. Reed walks, or the near-whispered dialogue throughout the movie. Also, whoever put Mr. Reed in those glasses is a genius, they give chilling Jeffrey Dahmer vibes.
I must also note the intense monologues that Hugh Grant delivers in Heretic. It is hard to take your eyes off him. The ideas and theories that are presented are not unknown and rather convincing. I was surprised to find myself nodding in agreement with an obviously deranged and hostile character.
Drawbacks.
It is hard to explain the main drawback of this movie without spoiling the ending, but let me try. The explanation and big reveal at the end of Heretic was a bit… on the nose. I just couldn’t hitch myself to that wagon. I understand what the writer was trying to say. That there are people who have such strong faith that they are willing to give up their lives to prove the belief true. It is the way this is presented in the plot however… I didn’t like it and wonder if there might have been another way to present this idea.
The Final Take.
Ahh, how I loved this movie. Never mind National Lampoon’s Christmas Vacation, Krampus or Die Hard, Heretic is my new favorite Christmas film. There is nothing more to be said.
(5 / 5)
Movies n TV
Returning to the Soothing World of Evil with “The Demon of Death”
“The Demon of Death” is the season 3 premiere of the supernatural drama Evil, created by Michelle King and Robert King.
“The Demon of Death” is the season 3 premiere of the supernatural drama 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 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.
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.
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)
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