Notes from the Last Drive-In: S4E6 – ‘The Monster Club’ and ‘Hellbender’
We’re back for another round of Haunted MTL’s Notes from the Last Drive-In with S4E6, featuring The Monster Club (1981) and Hellbender (2021). I’ve been somewhat critical of the stated themes over the season. Still, I am happy to report that isn’t an issue this week as the show delivers on the stated theme of “musical horror,” which is fantastic. Plus, we get a horror anthology to boot!
The film quality is undoubtedly a step up from last week’s Slaughterhouse, that’s for sure. So, what was the night like for Shudder‘s premiere movie hosting show? Can Joe Bob embrace a horror anthology for a change? Let’s dive in.
The Monster Club (1981)
The Monster Club (1981) is a British horror anthology directed by Roy Ward Baker, which also was his final film. The film was written by Edward and Valeria Abraham and adapted from the works of horror author R. Chetwynd-Hayes. The Monster Club is also notable for being the last film of producer Milton Subotsky, best known for his association with Amicus Productions.
The horror anthology movie is a cult film owing to the cast and the soundtrack. Vincent Price, John Carradine, Donald Pleasance, and Stuart Whitman headline the film, with Price and Carradine featuring heavily in the framing narrative about the club. The film’s soundtrack is pretty iconic, featuring B. A. Robertson, The Viewers, and The Pretty Things. NFilms’lso appears in one of the most iconic sequences of the film.
The Monster Club follows a vampire named Eramus (Vincent Price), who is helped to some blood by a writer, R. Chetwynd-Hayes (John Carradine). Eramus thanks the writer by inviting him to a secret monster club, where he learns the genealogy of monsters and takes in the sights and sounds of the club.
What will catch most first-time viewers of The Monster Club off guard is the movie’s tone. The horror anthology framing narrative of Eramus and Chetwynd-Hayes is pretty goofy and upbeat. These scenes almost make the film a musical comedy and are filled with sight gags and nods to the Amicus Films’ history (though this was not a production of Amicus Films). However, this is contrasted by the serious and frightening nature of the horror anthology stories within the film, of which there are three.
The first tale of the horror anthology, “The Shadmock,” is a deathly severe story about a couple who attempt to take advantage of a reclusive estate owner, Raven (James Laurenson), who is one of the hybrid monsters called a Shadmock. The second tale, “The Vampires,” features a boy (Warren Saire) who has a vampire father. The story follows the boy accidentally leading a vampire hunter (Donald Pleasance) to the home, but the tone varies widely within the story. Lastly, “The Ghouls” is the most frightening of the stories. The final segment follows a movie director (Stuart Whitman), who discovered a village of ghouls while scouting for a filming location. He befriends a ghoul named Luna (Lesley Dunlop), but the tale is bleak.
The changes in tone may be challenging for some viewers to swallow, but the format evokes some of the classic comic anthologies such as Creepy and Tales from The Crypt. The mixture of horror and comedy is pretty standard, such as in the Creepshow, which would come out a year later, and is even seen in The Last Drive-In week to week. What helps ease casual viewers in is the glee by which Vincent Price and John Carradine play their roles and embrace the scenes among goofy monsters in plastic masks as ska-infused music plays in the background. The Monster Club is ultimately a lit”le goofy but might b” He’seat film to introduce people to horror and monster media. However, fans of horror, you’re likely to be left wanting.
The film is relatively average from a technical and aesthetic standpoint. Peter Jessop’s cinematography is fine, but visually the film shares many Hammer Horror hallmarks. The editing by Peter Tanner is effective but does not do anything particularly innovative either. The costuming and set design is probably a highlight because it is relentlessly silly for the club scenes. The horror anthology itself is pretty rote, but the wrapping is quite adorable.
Joe-Bobservations on The Monster Club
Joe Bob perhaps summarized the movie’s tone the best during the closing break for the first half of the evening, saying that the film is “so fucking charming.” He’s not wrong. It was a nice, joyous night’s first half with a cute movie. We don’t get many of those on The Last Drive-In, but when we do, they stand out. For example, I’d consider The Legend of Boggy Creek, Sorority Babes at the Slimeball Bowl-o-Rama, and Deathgasm among the cuter films shown on the show. Your mileage may vary, of course.
The lecture elements of the show here were solid, as usual. But British horror is also one of those topics that has been covered so much that insights and discoveries were few to be had. I do consider that the typical member of the Mutant Family has a great deal of awareness of horror films, so many revelations about the British horror scene were somewhat familiar. The background on Amicus Films was great, however. Also fun was Joe Bob being happy with an anthology film as he usually disparages them.
Also, one can’t help and smile at the monster dance party across two of the host segments. Much like The Monster Club, they were “so fucking charming.”
Final Thoughts on The Monster Club
Intensely silly and ultimately harmless, The Monster Club feels like an all-ages answer to horror anthology films such as Creepshow. The film is quite charming, and though the tone varies wildly, it is entertaining throughout. The film doesn’t aim too high and appears quite aware of what it is. While the anthology stories are hit or miss, with “The Ghouls” packing the most robust punch, they come off stronger when framed by scenes of John Carradine and Vincent Price being the icons they are. Their sense of glee elevates even the roughest aspects of the movie.
In his Drive-In Totals, Joe Bob Briggs gave the film 4 out of 4 stars. I think that is fair; The Monster Club is a classic at this point, warts and all. Had the stories been stronger, this movie would have fared a bit better. I give it 4 out of 5 Cthulhus.
(4 / 5)
Best Line: “Can we truly call this a monster club if we do not boast amongst our membership a single member of the human race?” – Eramus
Hellbender (2021)
Hellbender is a 2021 horror film from the creative family behind 2019’s The Deeper You Dig. The film was written and directed by John Adams, Zelda, Adams, and Toby Poser. It also stars Zelda Adams, Toby Poser, John Adams, and Lulu Adams. This independent production is an exciting example of a family working together, and they are pretty prolific, with many films under their belt already. Truly a fascinating and unique example of independent cinema.
The film follows a teenager and her mother who lives in an isolated cabin. The teen, Izzy (Zelda Adams), is told she has an illness by her mother (Toby Poser) that prevents her from being around other people. In time, Izzy meets some locals, such as Amber (Lulu Adams) and a hitchhiker (John Adams), and learns that she may be isolated for the protection of other people due to her witchy heritage.
Hellbender is a solid film with a lot going for it but is not without its problems. The film’s highlights are the visuals and soundtrack. The movie makes the most out of consumer-grade digital video cameras and shows that fantastic cinematography is achievable with a practiced eye and affordable technology. Drone shots are also used frequently in the film to provide some distance and ethereal glimpses of the eerie woods of the Catskills as well. If that wasn’t enough, the film’s special effects are pretty impressive as well, between gore and trippy, dreamlike imagery. One particular shot with a key and a hand is genuinely remarkable.
The score, composed and performed by the band Hellbender, comprised of the same family involved with every stage of the film’s production, features an original score of atmospheric dread punctuated with performances of the witchy band and their original compositions. It’s pretty fun, and in many ways, the film could also be a series of music videos for an eventual album as the songs and the narrative seem to work in tandem.
The performances are solid. Zelda Adams handles her role as an increasingly bold and independence-seeking teen quite admirably. She also plays well against Toby Poser’s mother character, which is a necessity since most of the runtime comprises scenes between the two. If I had to give one of the actresses the advantage, I’d say that Poser has the more demanding challenge and the more complex performance. Her unnamed character has to deal with a complex series of fears and anxieties, and she does a fantastic job conveying them.
The most significant concern I have with the movie is that the middle section drags quite a bit as Izzy begins to explore her heritage. There is some beautiful imagery, and I feel the journey is important, but overall the pacing slows to a crawl. I had a similar issue with one of the family’s earlier films, The Deeper You Dig. The limited cast stretches the narrative too thin. I think the movie could have lost an easy 15 to 20 minutes and still worked quite well. On the other hand, if the film’s length was necessary, an additional narrative hook is needed to help introduce some more tension into the middle section. There is too much brilliantly shot narrative padding, which puts a damper on the film.
Though I also think the film’s plot is a bit barebones, and the ending makes sense, it feels abrupt and with minimal setup. The relationship between Izzy and her mother is never quite shown to be as bad as the ending would indicate it was, rendering the inversion of their roles seemingly arbitrary. The film would have benefited more from the introduction of more tension in the central relationship because, as it stands, it is relatively idyllic. The dramatic weight isn’t there.
Joe-Bobservations on Hellbender
For the second half of the evening, Joe Bob’s host segments mostly comprised a series of questions and answers with Zelda, John, and Toby. These sequences were a lot of fun, especially as they came out in greasepaint, evoking the musical sequences in the movie. Of the interviews, I feel the segment where it was Joe Bob and John Adams discussed the techniques and John’s surprising past as a model was most enjoyable. This is mainly due to the focus, as the couch filled, the conversation felt less specific. Then again, this happens with most multi-person interviews on the show.
Outside of the interview element, Joe Bob opened the second half of the night with a fun discussion about music in horror but found himself somewhat outclassed by Darcy, who raised several influential horror music composers. However, he did bring up a salient point about the usage of noise in horror films, suggesting a “best achievement in noise” Oscar. I can get behind that.
Final Thoughts on Hellbender
Hellbender is an impressive independent film project that evokes the steady hand of experience. The fact it is the work of a family that has built up this library of independent film is very admirable. The movie looks great and has a strong concept and soundtrack; however it suffers from a significant pacing issue. The film could also benefit from an additional plotline or further complications to pay off its exciting ending.
Joe Bob gave Hellbender 3 out of 4 stars in his Drive-In Totals. I think he’s spot on with it, as there are some admirable elements to the movie. I found the runtime bloat a bit too insurmountable myself, however. I give Hellbender 3 out of 5 Cthuhlus.
(3 / 5)
Best Line: “You opened a door that once it’s opened can be hard to shut.” – Mother
Haunted MTL Drive-In Totals
As always, here are the official totals, straight from Shudder.
As for our totals, we have…
- 3 instances of “thee-ate-er”
- 3 dance parties
- 12 monster lineages
- $1.7 million dollar budget
- 200 short stories by R. Chetwynd-Haze
- Opening rant with 4 points and 3 digressions
- Familial vomit bonding
- Gratuitous Drive-In Academy Awards
- Gratuitous ghoulery
- Darcy birthday shenanigans
- Horror host verbosity syndrome
- Safe robbing
- Stripper Jokes
- Irish Jokes
- Clipboard Fu
- Whistle Fu
- Kung Fu Review Fu
- Darcy Cosplay: Skeleton Stripper
Episode Score for the Last Drive-In: S4E6 – The Monster Club and Hellbender
For me, this week’s episode would fall in line with an average episode of The Last Drive-In. The movies were entertaining, and the host segments were good. It’s not a bad way to spend five hours on a Friday night. I also appreciated the night’s stated them, “musical horror,” actually playing out across both films. Sweet, sweet unity.
I’ve been a bit critical of the themes this season because, in at least a few episodes, they’ve been weak and unsupported by the chosen film pairings. That’s not the case here at all. Everything is copacetic. We’ll see how next week goes.
I give The Last Drive-In season 4, episode 6, 4 out of 5 Cthulhus.
(4 / 5)
What did you think of the films? Were you already a big fan of The Monster Club? Did you enjoy Hellbender? What about the music? Let us know in the comments.
Please join us on Twitter next Friday as we live-tweet with the rest of the Mutant Fam during The Last Drive-In with Joe Bob Briggs.
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We have come now to the finale of season four of The Boys. And while it didn’t have the literal blood fireworks I wanted, someone did get ripped in half in the air. So, that’s pretty close.
As a note, I will try to avoid spoilers as much as possible. This ending was a hell of a gut punch that should be experienced as blindly as possible. That being said, I will not be able to avoid spoilers and still give a full legitimate review. Proceed at your own risk.
The story
The main storyline for this episode is the attempted assassination of President-Elect Robert Singer. The Boys join forces with the Secret Service to protect him. But, as we learned last episode, Annie has been replaced with a shapeshifter. A shapeshifter that was welcome not just into Hughie’s anus, but into the protective bunker in which the President-Elect is hiding.
What worked
The first thing I want to discuss about this episode is the ending. But we need to do this carefully.
The important thing here is that the ending breaks your heart on so many levels. So many terrible things are happening to characters that it’s almost hard to keep track. And each moment is significant to each character.
I cannot give a specific example. But no matter who your favorite character is, you’re going to weep for them.
Unless your favorite character is Sage. And this is the next thing that made this episode so fantastic.
I don’t think I’m spoiling anything to say that Sage’s plans worked out exactly as she wanted them to. And she got exactly what she wanted.
What she wanted wasn’t power. It wasn’t money or fame or vengeance. It wasn’t to win the love of anyone. She just wanted to see if she could do it.
That is a terrific, terrifying motivation! Because all she wants is to play a massive game of chess with people as pieces. She doesn’t care about anyone. She just wants to see how many people she can manipulate. She just wants to set things on fire to see if she can.
Fantastic. A plus villain work.
The next thing I want to discuss is a cornerstone of the whole series.
The morality of The Boys shifts through the series. While it’s very much a battle to save the world from overpowered super monsters, it’s also a battle for the souls of our real heroes. And in that battle, there are two warring factors. We have Hughie, always trying to bring everyone up to a better level. And we have Butcher, who has no problem at all hitting rock bottom with a shovel in hand to do some more digging.
In this episode, we saw almost every member of The Boys challenged. Will they rise to their higher angels, or sink with their demons?
On a similar note, I am so glad that the writers kind of addressed my issues with Annie. They did this by having the shapeshifter get right into her face and accuse her of thinking that she’s better than everyone.
While that was devastating for the character, it was a little cathartic for those of us who felt like Annie was a little too good of a good guy.
What didn’t work
This is a small matter, but it is an issue that I want to address. After Annie finds out that Hughie slept with her doppelganger, she is furious at him.
In addition to this being unfair, it’s also a very cliche element to add. In almost every instance of a lookalike in fiction, there’s a moment where the love interest of the victim is fooled. Or almost fooled. And it’s always the same fight. It’s just played out and predictable. I’m just glad that it didn’t last very long.
Now that we’ve come to the end of the season, I can officially say that it was amazing. The story was deep and rich. The special effects were a stomach-turning good time. The character development was spot-on and satisfying. And, of course, it left me just about gagging to see what happens next. Unfortunately, it looks like we’ll have a bit of a wait. Because as of right now, the fifth season isn’t expected until 2026.
(5 / 5)
We’ve reached the second to last episode of The Boys, season four. And, as is appropriate for the penultimate episode of any show, things have to get a lot worse before they can get better.
Let’s discuss.
The story
Christmas is coming, and the whole world is getting ready. Ryan, despite being very clear that he didn’t want to appear on any TV shows or movies, has been strong-armed into participating in a Vought puppet Christmas special. He draws the line, though, when asked to sing about turning one’s parents in if they start talking about woke things.
Meanwhile, The Boys are trying to keep each other together. Butcher decides to take Sameer to the rest of the team. He also gets Frenchie out of prison, hoping they can make the Sup virus necessary to finally take down Homelander. Instead, this decision means disaster for one member of the team.
What worked
I first want to talk about Ryan’s speech near the end of the episode. Because it was exactly the moral of this whole story.
Ryan’s dad is a monster. His stepdad is also kind of a monster. But Ryan is a good kid. He cares about people, about family. And while he loves Homelander and Butcher, he doesn’t want to be like them.
Even better, this speech sounded like something a kid would say. Ryan didn’t open his mouth and start sounding like a college student all of a sudden. He sounds like a kid who misses his mom and wants to live up to the good standards she set for him. And I think that’s terrific.
Speaking of Homelander, he shot himself in the foot in this episode. I said earlier in the season that his hubris was going to be his downfall, and I was right. Without Sage, he just has the same weaknesses he’s always had. He’s going to fail because he just isn’t clever enough or patient enough to succeed.
Without Sage, I think a win is in the bag for The Boys. This isn’t to say that Homelander by himself isn’t dangerous. It’s just that he’s more like a wildfire than a controlled burn. He’s going to cause a lot of damage, but not get anything he wants out of it.
More’s the pity for him and everyone else who has to share his world.
Finally, I am thrilled with A-Train’s redemption story. I love that he wants to be a good person not to save himself, but to be a good person. His honest, pure and warm reaction to that little kid smiling at him in the last episode was heartwarming. It changed him in a moment, bringing to light a goodness that he’s been keeping under wraps for a long time.
This, along with Ryan’s courageous speech, proves once again what The Boys does so well. Yes, it’s gruesome. Yes, there’s blood and balls and batshit events. Yes, someone occasionally gets ripped in half. But there is a true human goodness in the story. One that we catch glimpses of. There are good people among the monsters. There is hope for redemption.
What didn’t work
Of course, so few things in this life are perfect, and this episode was no exception. For instance, I was irritated by the insinuation that Butcher cheated on his wife.
That just doesn’t make any sense. We’ve seen flashbacks of Billy and Becca. They were happy. He was happy. He was head over heels for her. And I don’t think it’s realistic or necessary for the character to throw in that he cheated. It does nothing to add to the story, it’s just a weird and offputting moment.
Doesn’t Butcher have enough to hate about himself? Can’t we just give him that at least he was a good husband?
Finally, I kind of hate that we ended up with Annie being caught. It’s just cliche, which is something I don’t normally say about this show. It feels lazy unless they do something very clever with it in the last episode. Which, I suppose, they might.
Next up is the season finale. And with this season being as insane as it has been, I’m expecting nothing short of bloody fireworks. And I mean literal fireworks of blood. At this point, would it surprise anyone?
(4 / 5)
Episode six of The Boys was one of the most surprising episodes of the series so far. And that is certainly saying something. Because this season has so far been bonkers.
The story
Our episode today revolves around a party at Tek Knight’s lovely mansion. Yes, it does look just like Wayne Manor.
The Boys know that Tek Knight is working with Homelander on something, but they don’t know the details. So they decide to send Hughie in to bug the mansion.
Because that’s worked so well the other two times he’s tried to hide a bug!
It should surprise no one that this time goes no better. Hughie finds himself in Tek Knight’s basement. And by that I mean his BDSM dungeon.
Meanwhile, the party upstairs is no less disturbing. Homelander and Sage are trying to convince some well-off political donors to support a cue after the election. When pressed for details on his plan, Homelander freezes. He looks to Sage for help, but she wasn’t recently shot in the head and still in the junk food stage of her healing.
Fortunately, or unfortunately depending on your point of view, Neuman jumps in and saves the day.
What works
If I’m going to say one thing about this episode, it didn’t hold back at all. I didn’t expect them to show a character masturbating, sitting their bare behind on a cake, or spraying breastmilk into someone’s face. But every time I thought they’d cut the scene and let something be left to our imagination, they did not do that.
This is a dangerous move. Whenever you show the monster, you run the risk of them not being scary enough, or gross enough. As Stephen King says in Danse Macabre, to leave this sort of thing to the imagination if the reader makes things so much worse. So when they finally experience the monster, they might say that this isn’t so bad. It could have been so much worse.
But in this case, they managed to avoid that by making the scenes, especially the ones in Tek Knight’s dungeon, so much worse than I imagined it would be.
What doesn’t work
While this was a deeply disturbing episode in many ways, there was one really innocent and sweet moment.
And yes, I did have a problem with it.
Confronted by Firecracker, Annie decides to apologize for spreading rumors about her when they were kids. She tells her that she is genuinely sorry.
And I believe her. I don’t think Firecracker did, but I did.
So why is this an issue? Because I’m starting to think that Annie is maybe too nice. She is too good.
I know that Annie is our good guy. But every one of the other good guys has flaws. Hughie let his pride get in the way and took Temp V. MM hid himself from his daughter instead of teaching her to work through her emotions. Kimiko is far too closed off and has a hard time trusting others. Frenchie numbs himself with drugs. And well, what hasn’t Butcher done?
It is unrealistic that Annie is just so kind and so flawless. We all have shadows in our personalities. We all have weaknesses, we all mess up. We all do things we wish we could take back. The fact that Annie doesn’t seem to have anything like that is not just unrealistic. It’s infantilizing.
Give her some deep dark secrets. Give her something real to regret.
This was a shocking episode, even for someone fairly jaded like me. I wasn’t expecting the sort of weird sexual depravity, though I guess maybe I should have seen it coming. It was dark, upsetting, tense, and funny as hell. And with just two episodes left in the season, I can imagine the stakes are only going to get higher.
(4 / 5)
By the way, if you like my writing you can get my short story, Man In The Woods, on Smashwords and Amazon.
