The Last Drive-In with Joe Bob Briggs: Folk Horror 4th of July
The Last Drive-In with Joe Bob Briggs continues with its diverse movie selections as well as the informative, and sometimes on-topic, rants Joe Bob is prone to deliver during breaks in the films on Folk Horror Night. His co-host, the intelligent and beautiful Darcy the Mailgirl, does her best to keep him under control but he is one hard to wrangle cowboy. It can be watched on AMC+ and Shudder.
Folk Horror Night
As Joe Bob Briggs himself says in the most recent episode of The Last Drive-In, “we are in a folk horror era.” The subgenre has enjoyed a resurgence, and viewers are taken back to its past with Dark Night of the Scarecrow (1981) and Beyond The Door III (1989) during Folk Horror Night.
The Hiding Game
Before viewers wander the fields in Dark Night of the Scarecrow, Joe Bob doles out seasonally-appropriate, though not medically sound, information on tick removal. I cheer for the return of Joe Bob’s ridiculous visual aids, although the content leaves me squirming in my chair. Darcy thankfully guides the conversation back to film and I no longer smell the sulfur of matches past.
Made for the Drive In
Made-for-TV movies are not common on The Drive-In, but the last two weeks have both featured one. Dark Night of the Scarecrow, directed by Frank De Felitta and released on CBS, ranks perhaps the highest among made-for-TV horror films. Without the hosts interjecting and reminding you of the network limitations, it is hard to differentiate this movie from a cinematic release.
The overall plot is a familiar tale of an ill-gotten execution and supernatural revenge, wrapped in burlap. Joe Bob warns viewers before watching that the character of Otis Hazelrigg, played by Charles Durning, is “one of the most hated characters in horror history.” By the end of the movie, it is very hard to disagree with him. He also credits the role of Bubba Ritter, played by Larry Drake, in defining Drake’s career.
The Drive-In Totals include but are not limited to: 1 vigilante round up, a killpit of the corn, a pitchfork through the gizzards, and brush machine fu. This movie earns another coveted four stars from Joe Bob, and Darcy describes herself as a superfan.
The First Scarecrow
According to Joe Bob, this is the first scarecrow movie. There are some things you trust him on enough that you don’t bother fact-checking. This is one of those times.
While the folk horror plays out, Joe Bob breaks in to break down the movie. An important story includes the editing Ray Bradbury did to help J.D Feigelson, the writer, with the script.
In the Dirt
As he breaks down casting information and the history of production, Joe Bob is intentional with the stories he chooses to highlight.
It’s often hard to catch the threads of Joe Bob’s rambles and weave them together. However, a simmering discomfort runs throughout the presentation of Dark Night of the Scarecrow. He highlights the tragic story of civil rights icon Booker Wright following his involvement in De Felitta’s Mississippi: a Self Portrait. He’s also certain to mention Durning’s history as a veteran of Normandy in WWII. “All his heroes were in those graves in Normandy.” My great-uncle is included in those numbers. He died while killing Nazis.
Mail Call!
The fan mail segment gives Joe Bob a chance to talk about working in movies as an actor. I find comfort in knowing that even the all-mighty Joe Bob gets nervous during auditions and cringes at past experiences. When he reveals he once learned a Cockney accent for a Mel Brooks role (he didn’t end up landing), Darcy enthusiastically asks to hear it. He sadly refuses, but this is the 4th of July / Folk Horror Night, so I forgive him.
Darcy believes this movie proves that a made-for-TV movie can be just as frightening as a theatrical release, and I wholeheartedly agree. This presentation is a treasure-trove of trivia and proves to any newcomers that Joe Bob certainly knows film.
My rating for Dark Night of the Scarecrow:
(4.5 / 5)
It’s the Folking Fourth!
Despite declining to do his 4th of July speech at the start of the episode, Joe Bob is unable to hold back in the second half of the night. He quickly introduces Beyond the Door III, and Darcy reveals she is over the current folk horror era.
I cannot do the speech justice in summation, so I very much recommend you watch it for yourself. The most important piece is his belief we should be able to debate with those we disagree with the most and still be able to say, “I sincerely wish for you to have a long life, to be happy, and to live the way you want to live without government interference.”
This is an idealistic notion, and requires good faith on both sides. Just take a look at Shiny Happy People, and tell me if you think everyone should be able to live without government interference. I understand his meaning though, as even those trapped in the IBLP cult are victims themselves.
Watching Joe Bob get choked up as he recommends “moving on without” those who can’t accurately define what being an American means triggers my own emotional response. Living in this country is difficult right now, for a multitude of reasons. But I believe, like Joe Bob, we have to keep working towards something better.
Trope City Central Station
Moving back to the Jeff Kwitney directed Beyond the Door III, Joe Bob describes it as: “The old story of the high school field trip to a dark forest in Serbia where inbred Satanists live.” The film is full of tropes and is also known as Train Amok.
The Drive-In Totals include but are not limited to: 1 ghost woman with bad teeth giving birth to a jackal, high-school-student-crispy-critter immolation, 1 ancient tattered warlock book, the devil as a rail-travel tourism enthusiast, and folk horror fu. “Three and a half stars. Joe Bob says check it out.”
Can You Show Me the Door?
As the American students die their way through Yugoslavia on a train, Joe Bob manages to stay mostly on track as he drops off information about the movie. Beyond the Door III is part of a wholly-unrelated trilogy produced by Ovidio Assonitis, and a possible prequel is currently in pre-production. The series of films are popular in international markets, and the use of the name is intended as a marketing draw.
While discussing the film Joe Bob asks, “Haven’t there been several opportunities to simply jump off of the fucking train?” When I recommend the characters do just that on Twitter during my account takeover, I promptly get our account suspended for encouraging self-harm. Sorry boss!
Sex-Appeal for Satan
Another criticism includes the main character Beverly not passing Joe Bob’s vibe check to fuck Satan. “I would expect Beelzebub, he’s got to be a freak, right?” Darcy enthusiastically agrees. She would know after her Walpurgisnacht dance with the devil.
Viewers are also treated with Darcy’s very simple principles of screenwriting: “It must be fun. Heads must roll.” Oh, and there must be breasts and “byu-tocks.” I think the movie meets these standards even if Darcy believes parts of it are too slow.
My rating for Beyond the Door III:
(3.5 / 5)
Home Is Where The Haunt Is
The final mail reading from author Kris Rose delivers a copy of her book, How Horror Movies Made Me a Better Feminist as well as a plea for a hagsploitation centered episode.
Joe Bob talks about Bette Davis and I almost wish instead that we’d get a conversation about the inclusive nature of horror to those who are othered by society. It’s not needed though, as Joe Bob has made it clear The Drive In is home to whatever mutant claims it. We’re all at Camp Joe Bob and can laugh together around the fire at the end of the night.
My rating for the episode:
(4.5 / 5)
Movies n TV
Evil: “F is for Fire” (S2E3)
“F is for Fire” is an episode of the supernatural drama, Evil. The assessors investigate a pyromaniac for potential demonic possession.
“F is for Fire” is an episode 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. It originally aired under CBS before moving to Paramount+. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate a pyromaniac for potential demonic possession. David (Mike Colter) brings Sister Andrea (Andrea Martin) into his circle of trust. Ben (Aasif Mandvi) remembers old Islamic stories of jinn. Kristen (Katja Herbers) meets an incredibly hot and mysterious figure. Sheryl (Christine Lahti) finds a therapist to work out her problems.
What I Like about Evil: “F is for Fire”
“F is for Fire” improves on Evil’s special effects, showing a renewed focus and competency in the area. The last season would likely use a more comical design, favoring tone over haunting the viewer with its budget. It helps that the design holds a haunting element to its fiery creature.
This episode introduces something outside the Christian/Catholic depiction, specifically relating to the Islamic jinn. This new element creates an understandable friction for the Catholic assessors. As Ben was raised Muslim and David’s Catholic teachings don’t permit the concept of jinn, it challenges both outside their comfort zone. Perhaps more so for Ben, who prides himself as an Atheist.
Either through trauma or evil influence, Kristen seems changed and impulsive. Her passionate pursuit of risks makes the viewer wonder how far she plans on going. With the introduction of her mysterious stranger, it seems a darker turn will soon follow.
While far from the darkest or most haunting episode Evil put to the screen, “F is for Fire” does suggest an unsettling new norm for the team. The plot also introduces a new supernatural villain who seems to create tangible harm beyond most of season 1’s earlier supernatural creatures. The stakes are greater now than ever, and “F is for Fire” aims to prove this to the viewer.
Tired Tropes and Triggers
There’s a wider theological friction within this episode, which I’ve mentioned earlier. This difference focuses on Islamic and Catholic understanding of spiritual forces and exorcisms. I am not versed enough to pretend to know if these are accurate portrayals, but I will expand on this point.
While not given much attention or focus, a demon sexually assaults a male character. Again, this lingers on the subjective state, but we know demons exist in this show by now, so the assaults feel less speculative and more real.
This episode continues flirting with infidelity that might irk some viewers. While nothing comes of this plot yet, the implications seem to suggest something will happen.
What I Dislike about Evil: “F is for Fire”
Sheryl’s attempted manipulation of another character seems awkwardly unnecessary and overly dramatic. I assume this act intends to show her manipulative character, which “F is for Fire” certainly adds to, but it does look like an attempt to connect two characters to fill time.
The jinn description is so minute that I don’t see how Ben came to any conclusion outside of a typical demon. A more detailed description might make Ben’s conclusion more reasonable to the viewer.
David’s claim that jinn are not of God and thus can’t exist which isn’t exactly true. From my understanding of Muslim lore, angels, jinn, and humans are of God and capable of good and evil. Perhaps a more accurate claim might suggest things outside the bible cannot exist.
Final Thoughts
“F is for Fire” tempts the assessors in new ways, sparking some unsettling weaknesses for Evil to rise. It continues layering the overarching plot and building the personal trials facing each character. While not the most haunting episode, “F is for Fire” nurtures a coming flame by building atop tension.
(3 / 5)
Hello everyone and Happy October! It’s time for some spooky goodness and terrifying treats. And of course at HauntedMTL, it’s our favourite time of the year.
That being said, this review is a long time coming.
I first had the pleasure of viewing LAST ONE ALIVE’s Michigan premier at Motor City Nightmares, a horror convention and film festival. In the audience was writer and director David Axe and star Caylin Sams to promote the film and answer questions.
And since I was fashionably late to the movie, I asked Axe if it was possible to snag a screener to watch the full movie and, well, here we are.
So, enjoy this rare spoiler-free review.
The Plot of ONE LEFT ALIVE:
Sara (Sams) is the lone survivor of a brutal massacre of her friends in the woods one fateful night.
And where most movies end here, ONE LEFT ALIVE begins.
Burdened by survivor’s guilt, police suspicion, newly found fame and growing nihilism, Sara navigates the world and her memories after the attack. Trying to regain her sanity and find out why she was the only one left alive, Sara keeps going back to the woods, searching for answers…or maybe her own ending.
Thoughts of ONE LEFT ALIVE:
LEFT ONE ALIVE is a unique film. It’s a slow-burn independent drama where the horror isn’t so much what’s out in the woods but picking up the pieces of a life interrupted by tragedy.
But that isn’t to say that it’s devoid of humor.
Writing
The writing swings between clichéd to clever, and sometimes to cleverly clichéd. There’s quite a bit of meta humor, but it’s not irritatingly so. It’s more through the perspective of Sara instead of any grand sweeping statements. There’s a point in LEFT ONE ALIVE where the actress playing Sara in a movie (Lorelei Linklater) confronts her for material and motivation. Sara becomes an on-looker of the film, watching another woman play the person who she had to become on the worst night of her life. We see her seeing the fake creatures (tubbies) that the fake film’s effects department created and realizing that her experiences are just being exploited.
But during these scenes, there’s humor mixed in. She punches the actress when she gets annoyed with the questioning, but only grows closer to her. Dating the actress afterwards in a strange relationship
Also, when seeing the fake Tubbies (the monsters) for the first time, she was really vocal about their missing…appendages. Dangly appendages.
Acting and Cast
However, some of the most genuine scenes came when Sara was with her sister, Sam (Rachel Tracy). The acting throughout ONE LEFT ALIVE can be slightly stilted. However, it shines brightest between Sams and Tracy, showing the bond of their sisterhood and the love they share. It felt very natural and organic, really achieving some of the best moments of the film.
For such a tight budget, Axe really was able to use a lot of resources. The casting was really impressive, having both seasoned and new actors including Rachel Petsiavas, Alex Javo, the delightful Sanethia Dresch, and Raj Karottukunnel.
Cinematography
Sarah Massey produced, shot and edited the film, and took risks with some of the shots. However, the risk paid off, not only keeping the story and perspectives interesting, but also reminded me of the art of cinematography.
It’s not often when a movie reminds me that yes, this is a moving picture. Each scene should be expressed in a way that suits the theme, mood and acting. I don’t want to sound old and be like, “movies these days…” But here we are. I am old and also, movies these days. Cinematic shots are meant to serve as a kind of shorthand for what the audience is meant to be feeling – what the expression of the film is and inside the minds of our characters (i.e., long shots to show the character is feeling alone or overwhelmed, etc.). Cinematography 101 stuff.
One shot in LEFT ONE ALIVE that was clever and simple to execute was when Sara goes missing and her sister, Sam, is waiting at home, pacing back and forth. The camera moves with her as other characters are sitting down. The motion follows her unease, focusing only on her and her fear that something horrible has happened. Again. The audience experiences this unease with her as we, too, pace with her.
Music
Also, the music in LEFT ONE ALIVE – color me impressed. It’s often that I’ll watch a horror movie and either the music is too jarring (looking at you, Longlegs) or just doesn’t fit because it’s thrown in without relating to the movie itself. Tyler Matthews does an incredible job at adding to the scene than detracting from it in a careful balance. The music is never too intrusive as to divert attention away from the acting or cinematography, nor does it overstay its welcome. The editing and sound design were clever with when to have silence, music, and natural sound. It’s a difficult balance to do and LEFT ONE ALIVE is a shining example of how to do it right.
Critiques
The only critiques that I have are, as mentioned, the acting can be stilted. Some of the bigger concepts (like finding the new species, making a film within a film, and the legal/media issues) will need you to suspend your disbelief a bit. And as much as I love a slow-burn, some of scenes could have been cut down (like the uber ride).
BRAINROLL JUICE:
For this section I was going to talk about PTSD and dogmen, but then while researching for this review, I saw something I’d rather talk about more.
This movie was one of the last films with actor Raj Karottukunnel, who passed away in April of this year. He was very young (40 is young, trust me) and left behind two daughters. It’s evident he was extremely loved by those who knew him and he will be missed greatly.
There is a gofundme for his daughters for a college fund for them: Fundraiser by Rejani Nedumchira : Raj’s Princess Warriors (gofundme.com)
Sometimes when we watch movies, especially independent movies, we forget how fucking hard it is to make a film. It takes time. Work. Talent. Ambition. A lot of luck. Everyone goes an extra mile because it’s a small crew and it’s a dream that they have. They get to live it, but it takes a lot of effort.
It’s easy to forget there’s a forest through the trees and that these are all people. People with hopes and dreams and fears and whole other lives. Maybe they’re in front of the camera, maybe they’re directing the camera, or maybe they’re like my production assistant friend throwing dirt on actors for a civil war history show. But they all have a home and a family to go back to at the end of the day. And it’s incredibly sad when they don’t get to.
So, I guess this is just my soapbox to remind fans to be kind. Remember to be grateful and gracious of the people who are part of this very cool thing that we love and care about. Horror is, ironically, about community. About a place to belong, even in our darkest moments, even when we’re weird and gross. Let’s keep it weird and gross and lovely and, above all, kind.
BOTTOMLINE:
Even though it’s not in distribution yet, when it is and you’re looking for something a little different in your horror repertoire, I would highly suggest LEFT ONE ALIVE.
(4 / 5)
We’ve reached episode five of Marvel’s Agatha All Along. And after last week’s bombshell reveal, I expected some serious answers.
I’m happy to say we got them.
The story
We begin our episode again on The Road. But now, for the first time, the coven is not alone. They’re being hunted by a terrifying group of witches called the Salem Seven. Trapped, they craft brooms and take off into the air.
This only allows them to escape for a few moments, but a few moments is all they need to get into the relative safety of the next challenge house.
There, they find themselves in a sleepover. This is Agatha’s challenge. And of course, Agatha’s challenge is that she has to face the ghosts of her past—the literal ghosts, including the ghosts of her mother and her son.
While they do get out of the challenge, they leave someone behind. Agatha, having shown her true colors again, reveals that she knows who Teen is finally.
And by the end, so do we.
What worked
I want to begin by talking about The Salem Seven. Because they are creepy as hell.
The way they move is fantastic. Their strange, jerky movements are unnerving enough to get under just about anyone’s skin. But knowing who they are, and why they hate Agatha, lends an additional level of emotional trauma.
I also really liked that this challenge took place in a sleepover. Even better, a sleepover in the late eighties, early nineties. As anyone who attended a girl’s sleepover during that time will tell you, those got witchy even if no one at the party associated with being a witch. There were ouija boards. There was fortune telling. There was calling on evil demons, like Bloody Mary and Candy Man. I may or may not have been a part of a game of Light as a Feather, Stiff As A Board in which a friend was dropped on the concrete basement floor. The point is, sleepovers get witchy and I appreciate the acknowledgment. I also liked that the rules regarding the Ouija board were pretty well spot on.
And pretty well ignored as soon as Teen spoke them.
Speaking of Teen, he is just about done with everyone’s catty behavior. And I mean everyone, including Agatha. His opinion of her seems to have greatly changed since the beginning of this journey. And he has clearly had enough.
Rio and Agatha’s relationship has also changed. It’s fascinating to see Rio be so protective of Agatha, while at the same time still ready and raring to kill her. While I’m not sure that’s the healthiest relationship, it kind of seems to work for them.
What didn’t work
All of that being said, there was one glaring problem with this episode. And it is, unfortunately, Agatha.
We’ll recall that Agatha, at the start of this season, wasn’t a good person. She was not a good person in Wandavision, so that shouldn’t be surprising. I will again remind everyone that Agatha killed Sparky.
But by this time in the season, I would have expected her to have had some character growth. And that is not what we are seeing here. It appears that Agatha is just as selfish, just as fast-talking, and just as cruel as she’s ever been.
And that is just not what we wanted. If we get to the end of the season and Agatha hasn’t grown, then it’s going to feel like a cheat. While the adventures along The Road are fun, I don’t think that’s what we’re all here for. At least it’s not what I’m here for.
Let’s hope we start seeing some character growth next week. Otherwise, this whole journey is going to feel worthless.
(3.5 / 5)
