We are back to the drive-in for a final night until later this fall with S4E10, featuring Uncle Sam (1996) and Nightbreed (1990). How does this finale stack up with the rest of the season, and is the July 4th theme something that works, or is this another example of the theming mismatch that has plagued this season?
Let’s see what Shudder had in store for us on July 1st, 2022.
Uncle Sam (1996)
Specific names carry weight in horror, especially among the Drive-In audience. Uncle Sam, a 1996 black comedy slasher, features two names: director William Lustig and writer Larry Cohen. Lustig and Cohen should be familiar to fans of The Last Drive-In from Maniac, Maniac Cop, The Stuff, and Q The Winged Serpent – all films spotlighted on the show before. But those are not the only names attached to the film worth noticing, either. This low-budget slasher has some iconic character actors, including Isaac Hayes, William Smith, David Fralick, Bo Hopkins, P.J. Soles, and Robert Forster. Add in Troma-cinematographer James Lebovitz and frequent Sam Raimi editor Bob Murawski, and you have one hell of an assembly of talent.
It’s a shame, though, that the film is so mild.
Uncle Sam is a Gulf War-era story about the friendly-fire death of Master Sergeant Sam Harper (David Fralick), whose charred and re-animated body goes on a murder spree starting in Kuwait and taking him to his down of Twin Rivers during the yearly Independence Day celebration. The arrival of Sam’s coffin to his widow, Louise (Anne Tremko), estranged sister, Sally (Leslie Neale), and idolizing nephew, Jody (Christopher Ogden), begins to open up old wounds in the family. Thankfully, veteran Jed Crowley (Isaac Hayes) is there to help steer young Jody and aid in the fight as Sam’s sinister return takes Twin Rivers by storm.
The movie is not terrible, but it is also a far cry from previous Lustig and Cohen collaborations. The film tries to evoke the spirit of the 1980s slasher in the mid-1990s, but by playing fast, loose, and straight, the film feels like a pale imitation of more iconic movies. The holiday theme, a costumed killer, and a strange handful of dispatching methods that evoke the one-upmanship of other slasher series – all result in a slasher that feels pretty bland, especially when the genre would be re-invigorated and mastered by Wes Craven’s Scream, only a month or two later.
Slashers have never been high art, except for one or two films. Often it is a genre that makes strange logical leaps and constructs bizarre set pieces to find a novel way to carry a no-importance character to establish menace and earn a laugh and a thrill. The biggest problem with Uncle Sam is that, except for a kill or two, most of the murders are weak affairs. Sometimes the film even undercuts the inherent build-up of tension, suggesting one form of murder only to abandon it and go with something else to little effect. It doesn’t help that for a black comedy; the film is largely devoid of significant laughs – though one sequence involving a chase on stilts is peak absurdist slasher humor. If the misdirections in what the film sets up are on purpose, as a kind of joke or commentary, they primarily do not land.
The performances are fine. The veteran actors are suitably game with the premise and are why the film works. Child actors can be tricky to assess, and sometimes nuances in characters are hard to see play out: If Christopher Ogden was playing the character of Jody as an unstable kid going down a dark, violent path, he did well. If that was not the intent, then perhaps not. The film doesn’t provide enough depth for us to care one way or another. The best performance comes from Isaac Hayes, who has a semblance of an arc and gets to deliver some of the best lines of the film. His character has a sense of nuance and is generally charismatic – the role model Jody needs and the one who sets him straight.
I don’t necessarily want to belabor that I wasn’t a huge fan of the film. I think the editing, direction, and cinematography were solid. I especially loved the patriotic montage opening. I think the film has a good set-up, but I also feel that Cohen could have done a little more work to deliver something more substantial.
Joe Bob-servations on Uncle Sam
Joe Bob’s take on Uncle Sam was pretty fair regarding enjoying the movie but recognizing the flaws. There were several moments during the host segments where he pointed out some of the puzzling and somewhat lazy approaches the film took to sets-ups and motivation. He pointed out that the film is essentially a riff on the earlier Maniac Cop series.
Of course, the insights on the production, cast, and crew were excellent. But perhaps the most entertaining reflection of the evening was Joe Bob discussing his time spent with Robert Forster. Forster’s career at the time was on a downturn, just before Jackie Brown and Joe Bob’s own career path pre-Shudder was quite similar. It was a touching tribute to the departed actor with a bit of reflection.
Final Thoughts on Uncle Sam
Uncle Sam is a middling-to-fair entry in the late slasher canon that plays a little too straight with the tropes and trends to its detriment. With the amount of Drive-In talent attached, fans of the show may be expecting more than this film can deliver. In comparison and around the same time, Jack Frost presents a much stronger example of what Uncle Sam may have been aiming for.
Joe Bob Briggs gave Uncle Sam 2 and 1/2 out of 4 Stars. I can’t help but give Uncle Sam 2 and 1/2 out of 5 Cthulhus. (2.5 / 5)
Best Line: “Don’t be afraid, it’s only friendly fire.” – Sam
Now Nightbreed (1990) is one hell of a selection to end a season on. This film has had a wild journey from a disappointing follow-up to Hellraiser to a much-beloved cult favorite that reflects a promising film career cut short. The film is a dark horror fantasy written and directed by Clive Barker, adapted from his 1988 novella Cabal. This film was the second of the three total films directed by Clive Barker, the last being 1995’s Lord of Illusions. Nightbreed re-unites Barker with cinematographer Robin Vidgeon, who handled Hellraiser, and features two editors, Mark Goldblatt and Richard Marden; the latter left the film in protest due to studio interference. The film also features a score by Danny Elfman.
The movie stars Craig Sheffer, Anne Bobby, David Cronenberg (yes, that Cronenberg), Hugh Quarshie, and Doug Bradley.
Nightbreed is set in Calgary and follows Aaron Boone (Craig Sheffer), a man consumed by dreams of a city of monsters called Midian. His girlfriend, Lori (Anne Bobby), asks him to visit a psychotherapist, Decker (David Cronenberg), who is secretly a serial killer who seeks to pin his crimes on Boone. Decker’s scheme is derailed as an injured Boone encounters a man named Narcisse (Hugh Ross), who also knows something of Midian. Soon, Boone finds himself on a journey to Midian, where he may share a vital connection with the monstrous residents, while Decker and Lori seek him out.
Nightbreed, this restored version, at least, is one of those rare horror epics where the scope is so much bigger than a madman hacking up teens. There is a real sense of texture in the setting and a sense that there is so much more story to tell. The theatrical cut of the film featured a bit of that, but it took the ardent desire of fans to restore the film as closely to Barker’s intent to make these elements clear. The film’s story is good, but it does suffer from the feeling of being the first act of a longer, more complicated story, the resolution being a tease for an adventure ahead that we’ll likely never see. This ultimately leaves the film feeling a little empty in that regard.
Simultaneously, though, there is also so much going on in the film that can feel a bit crowded, and significant moments come off as more confusing or puzzling rather than beats in a larger conflict. The introduction of the Berserkers in the film’s third act, coupled with the motivations of the deity Baphomet, is an excellent example of this. There is something more to it, but the film just does not have the run time to devote to developing these angles. So too with the various forces that converge on Midian. The local police, almost sweeping in as the film’s true villains, are reduced to a stock and abusive militarized force without a chance to grapple with the implication of Midian and why its presence is so upsetting beyond “they’re different!”
If there were ever a story needing a streaming series adaptation, perhaps Nightbreed is the best choice.
I’ve spent a lot of time here discussing the film’s story, but that is because this film has something genuinely incredible that another take can bring to the surface. The rest of the elements in the movie are excellent, however. But they are a lot like a fresh coat of paint on a crumbling wall: the issues at the story’s heart persist, despite the technical and performance achievements. The film looks fantastic. The rich, gothic set designs, elaborate matte paintings, and detailed sets create an epic underground look. The Danny Elfman score is also equally epic.
The acting is excellent across the board. Craig Sheffer and Anne Bobby are effective as somewhat doomed lovers but could have had far more to sink their teeth into. What they do have works, however. However, the critical performance in all of this is David Cronenberg playing a sadistic masked killer. While his role would ultimately confuse the studio into thinking Nightbreed was a slasher, we can partially forgive them as Cronenberg is magnetic. Between his sinister plotting, disaffected personality, and masked presence, he is one of the more unique slashers introduced to film. It is enjoyable to watch his character change his goals and embrace the absurdity of the presence of a city of monsters under a graveyard. Cronenberg’s Dr. Decker is a chaos agent.
Joe Bob-servations on Nightbreed
Joe Bob’s praise of Nightbreed was effusive, especially given his admittedly cold reception of the film upon release. The host segments were a tribute to hardcore fans who loved the strange little monster film and recognized there was more to it. His relaying of the story was a lovely tribute to one of the more positive elements of fandom. These days we focus so much on toxic fandoms that it is such a breath of fresh air to cover a story of a fandom doing right by a creator.
The night’s final segment featured Joe Bob doing a riff on the infamous speech from Patton (1970) as a Lone Star General. It was a fun and inspiring choice to close out the season and the July 4th-themed evening. He may have worn his heart on his sleeves, but his shoulders had beer packaging cardboard epaulets.
Final Thoughts on Nightbreed
Nightbreed is an excellent film despite some significant issues. There is so much lost potential that I can’t help but appreciate what it was going for. While it doesn’t stick to the landing, the execution is strong, and there are some iconic elements worth praising. I hope that one day someone realizes the potential of Nightbreed and lets Clive Barker return to it to achieve what he wanted. It is not a perfect film, but it is a tantalizing glimpse at a missed opportunity.
Joe Bob Briggs gave Nightbreed 4 out of 4 Stars. I think that was a reasonable assessment as it featured blood, breasts, and beasts – the drive-in essentials. The man said he would give it 5 stars if he could. As much as I adore the movie, I do think it has some critical flaws. I give Nightbreed 4 1/2 of out 5 Cthulhus. (4.5 / 5)
Best Line: “You are a freak and a cannibal and you’ve come to the wrong town.” – Captain Eigerman
Haunted MTL Drive-In Totals
Shudder has provided the official drive-in totals on their Twitter account.
As for our own totals for the season finale, we have:
- 1 Wooden Leg
- 2 Chart-driven Rants
- 2 Instances of ‘Thee-ate-er’
- 33 Houses in a Legal Entanglement
- 200+ Monsters
- 500 Boxes of 35 MM Film Strips
- Gratuitous Flaggery
- Gratuitous Doug Bradley Brief Appearance
- Blind Groping
- Self Scalping
- Car Exploding
- Absent Father Fu
- Chart Fu
- Tomb Defacing Fu
- Montage Fu
- Spray Can Fu
- Cronenberg Rolls
- Training Video
- Patriotic Jokes
Episode Score for The Last Drive-In S4E10 – Uncle Sam and Nightbreed
Again, we have a situation where the night’s theme was somewhat hollow, and only one of the films really hit the mark. I suppose there is any number of logical leaps and connections one could make to connect Nightbreed to the stated them, but that is far more critical work than should be necessary. So as has been an issue with season 4, the stated theme for the evening just doesn’t work. That is okay, though. It becomes less of a problem when the movie pairing is stronger, and though Uncle Sam fits the July 4th theme, Nightbreed was the night’s highlight.
Overall, season 4 was quite strong with the movie selection. It featured perhaps the most diverse array of movies with some wild swings in pairings since season 1. While I wasn’t a fan of tying movies to explicitly stated themes, they worked when they worked. Everything else, however, was excellent. I appreciated the rapport between Joe Bob and Darcy this season, and I enjoy the show taking risks by stitching music videos and skits into the fabric of the evenings. The show is still one of the best things Shudder has ever done, and with the recent announcement of season 5, it should continue to be.
I give this season finale of The Last Drive-In with Joe Bob Briggs four out of five Cthulhus. (4 / 5)
And that is it for us here at Haunted MTL for The Last Drive-In. We’ll keep readers posted on announcements and news as it develops regarding future seasons and specials. We’ll also return to live-tweet the shows as well.
Want more Clive Barker in your life? Why not read Cabal, the novella that inspired the movie Nightbreed? Use our sponsored link to snag a paperback and help support Haunted MTL.
Movies n TV
The Beach House, a Film Review
The Beach House (2019) is a body horror film directed and written by Jeffrey A. Brown starring Liana Liberato, Noah Le Gros, and Jake Weber.
The Beach House (2020) is a body horror film directed and written by Jeffrey A. Brown. This film stars Liana Liberato, Noah Le Gros, Jake Weber, and Maryann Nagel. As of this review, this film is only available on Shudder.
Desperate to rekindle their strained love, Emily (Liana Liberato) and Randall (Noah Le Gros) escape to a beach getaway. They soon learn to find that family friends of Randall’s father, Mitch (Jake Weber), and Jane (Maryann Nagel), also had a similar idea. After getting used to each other, a mysterious fog engulfs the town. Unfortunately, they realize too late the danger they find themselves in.
What I Like
Body horror gets under my skin, and The Beach House certainly lives up to the standard. There’s something magical about creatures terraforming your body to their preferred environment, turning humans into nothing more than conscious prisoners in their own flesh. While I wouldn’t consider this film the most traumatic or unsettling example, it utilizes wonderfully grotesque scenes.
Aside from the body horror, the film drops a few Cosmic Horror–or Lovecraftian–vibes that go together perfectly. Another favored genre of mine, this combination ensures the odds are overwhelmingly against our human leads.
Beyond the grotesque, visuals might not overwhelm but certainly succeed in their goal. Several scenes provide an intentionally tranquil experience that contrasts with the grotesques and improves their effectiveness.
In terms of performance, each actor hits their mark. While some roles require less effort, each contributes to the plot as intended. The standout performance goes to Liana Liberato’s Emily, who acts as co-lead. She simply has the most to work with and lives up to the part.
Tired Tropes and Trigger Warnings
As “body horror” should indicate, this film will hit hard for the more squeamish viewer. While horror by nature has some amount of grotesque, body horror brings that grotesque to the next level. While I don’t particularly find The Beach House hitting harder than its competition, it certainly respects its chosen genre.
What I Dislike or Considerations
A few scenic montages may hit or miss depending on your interpretation. While I have my own theories, that speculation goes beyond the scope of this review. Many of these scenes overlap more philosophical conversations and musings that may annoy or add layers. This strategy seems a common practice in Cosmic Horror, which forces characters to rationalize the irrational.
It’s hard for me to understand how secretive or known this event is supposed to be in the film’s world. Individuals know something outside of the town, with evidence implying governmental knowledge. This information creates a contrivance–perhaps, even a plot hole–because the characters had to reach this isolated town without any opposition.
One of the visuals didn’t exactly grab me. While I won’t go into too much detail, an effect looked too visually similar to a common animal that barely survives rain. It’s hard to be threatened by that. It also doesn’t exactly match up with some of the other visuals. Even the creatures that look similar to it still look different enough to provide a more alien assumption.
There are moments when the infected chase our main characters by crawling at them. While the context works, with injured characters helping to sell them, I can’t help but find these scenes amusing as opposed to frightening. Yes, it’s certainly visually different from the plethora of zombies out there, but it’s also less frightening than zombies that leisurely walk to their targets.
The Beach House combines cosmic and body horror to create an uncomfortable film that tests its characters. For those who enjoy these genres, it will certainly entertain you, but I doubt it will frighten you. I imagine the mood to watch it again might strike me, but I’m not entirely certain it will stand the test of time. (3 / 5)
If this movie suits your fancy and you want more, Honeymoon seems an appropriate recommendation.
Movies n TV
Every Secret Thing, a Film Review
Every Secret Thing (2014) is a crime thriller directed by Amy J. Berg and written by Nicole Holofcener, based on Laura Lippman’s novel.
Every Secret Thing (2014) is a crime thriller directed by Amy J. Berg and written by Nicole Holofcener. This R-rated film stars Diane Lane, Danielle Macdonald, Dakota Fanning, and Elizabeth Banks. Based on Laura Lippman’s novel of the same name, the film adaptation is accessible through MAX and DirecTV.
When a little girl goes missing, Nancy Porter (Elizabeth Banks) spirals into an all too familiar tale. As pressure mounts, Alice Manning (Danielle Macdonald) and Ronnie Fuller (Dakota Fanning) become the leading suspects. The strained frenemies unravel under the attention and reminders of their shared past.
What I Like
The film unravels in a non-chronological structure but makes it easy for the viewer to follow. It helps that the age difference clearly divides the younger actors, who change actors. One casting choice resembles their older counterpart, and the acting reflects a strong direction for their shared role.
Unreliable narration remains expertly communicated with scenes that change perspectives depending on whose perspective we view them from. This choice adds a reason to view the film twice, providing extra ambiguity for some of these events.
The camera gets up close and personal to an uncomfortable degree, which almost certainly presses the actors’ performances. This choice places the viewer in the character’s perspective and limits us from others’ perspectives to add extra credence to these biases.
Every Secret Thing provides a spiraling mystery that unravels with several twists and turns. Assuming the novel provided the outline, this film executes these points and keeps a consistently engaging experience throughout the runtime.
Tired Tropes and Trigger Warnings
Child abuse and neglect remain the central plot points of Every Secret Thing. Little of this abuse appears in scenes, but there is no escaping the danger children are in throughout the film.
Self-harm and suicide are shown throughout the film (once in the case of suicide) through one specific character. It isn’t glorified or romanticized nor addressed with particular sensitivity. For those sensitive to these subjects, it might be triggering.
Racism, the assumed motive for the bi-racial victims, plays a small role in the film’s narrative. However, character motives remain more complex, but going further spoils some elements. This film decision does create the reality that bi-racial children are the victims of child neglect and abuse in the film with little additional context. It does invite uncomfortable speculation, but speculation it would be.
Sexual assault is another concern for viewers, specifically statutory rape. This issue seems particularly mismanaged, considering the survivor remains an antagonist. One can be both survivor of assault and an antagonist of a film without needing to discredit the assault. While little appears of this issue, and the manipulation angle can indicate a perspective shift, it’s hard to refute how the film wants to represent this attack.
What I Dislike
Loosely tied to the above point, one character seems mentally off and purposely so. This point doesn’t inherently create an issue, but there seems to be a choice to make this character a mastermind. Perhaps this is better addressed in the book, but the execution is far from perfect here.
A newspaper montage reveals essential information which feels oddly misplaced. Practically the entire setup for the film appears through this montage, which creates the necessity to read these headlines in the minimal time given.
As a horror, nothing but the events are haunting. Children being abused or kidnapped always haunts, but the terror of this remains secondary to the mystery. While the mystery is nice, this film won’t particularly scare the seasoned horror fan.
Every Secret Thing unravels a mystery of opportunism, selfishness, and deception. While the movie won’t haunt the viewer, it certainly unravels a mystery that shocks them. The nuanced and deceptive characters add a layer of engagement that creates a unique experience, but I doubt this movie will linger in my mind.
(2.5 / 5)
Movies n TV
Quid Pro Woe
We’ve now reached episode six of Tim Burton’s Wednesday. And after the last episode, this one did not disappoint.
We start with Wednesday attempting to contact Goody Addams. Last episode, if you’ll recall, Morticia explained the difference between a psychic dove and a raven. Since Goody Addams was the last raven psychic in the family line, it’s got to be her that trains Wednesday.
But her seance is a failure, and Wednesday is interrupted by a magazine note shoved under the door. It says to meet someone at a crypt for answers.
When she gets there, it turns out that her friends have put together a surprise birthday party for her. Before she can cut the cake, however, she has a vision.
Goody Addams tells her that she must find a specific gate. After some investigation, Wednesday discovers it’s the gate to the old Gates house.
Wednesday goes to investigate, but she isn’t the only one. She is nearly discovered by Mayor Walker. He is also investigating the Gates family, even though they’re all reported to be dead. He leaves a message for Sheriff Galpin and is almost immediately run over by a car.
This incident is enough to get Wednesday’s town villages revoked. Though this seems like an empty punishment since the whole school is on lockdown. Someone burned Fire Will Rain on their front lawn.
Wednesday isn’t one for believing the rules apply to her. She has it in her head that she’s meant to save Nevermore Academy, probably from whatever descendent of Crackstone who’s still around. So she has no problem lying to Enid and Tyler and convincing them to help her sneak off campus and explore the Gates house further.
This, of course, is an incredibly informative trip. The kids find a hidden altar to Crackstone, as well as the missing body parts from the monster’s victims. They also find evidence that someone’s been staying in the house. Someone who’s staying in what looks like a little girl’s room.
Before they can find anything more, the monster finds them. They barely escape, and go to the sheriff with what they find.
Of course, the house has been cleared out by the time Sheriff Galpin arrives. Furious that his son was almost killed, he tells Wednesday to stay away from him.
Because that always works, right?
Galpin isn’t the only one angry. Enid is fed up with the way Wednesday has been treating her. And so she leaves their room to bunk with someone else, leaving Wednesday alone.
This episode was well done. The discoveries at the house were exciting, and I’m almost sure I know who’s behind the murders at this point. Overall, this was a good ramp-up to the season finale.
Finally, this episode did something I was worried just wasn’t going to happen. And for that alone, it deserves praise.
Wednesday has been incredibly selfish and inconsiderate since the first episode. She’s been rude and demanding towards Thing. She’s ignored her friends’ needs and emotions while insisting they put themselves in danger for her investigation. She has respected no one’s boundaries, even while other people have at least tried to respect hers.
And now, it’s finally come back to bite her. All of the people who have been doing their best to show her kindness and support are finally done with her bullshit.
Yes, this is a good thing! Characters are best when they’re allowed to learn and grow. When they don’t come to us flawless. When they mess up and learn from it. Especially for a show aimed at kids, this is essential.
If you’d asked me at the beginning of the season if this character was going to experience honest character growth, I’d have assured you it would never happen. Much to my surprise, it’s happening. I hope that Wednesday is going to come out of this a better person. With two episodes left in the season, there’s plenty of time for that. (4 / 5)