The Last Drive-In with Joe Bob Briggs: Zombie Night 2: Reunion Boogaloo
The Last Drive-In with Joe Bob Briggs wraps up season five with another double feature of delicious horror. Fans say goodbye for now to the informative, and sometimes on-topic, rants Joe Bob delivers during breaks in the films. His co-host, the intelligent and beautiful Darcy the Mailgirl, has done her best to keep him under control this season, but he is one hard to wrangle cowboy. The Drive-In can be watched on AMC+ and Shudder. Stay tuned for future news about specials and seasons.
This week on The Last Drive-In, Joe Bob brings the season full circle by ending on another zombie night. You may remember the season premier features Lucio Fulci’s Zombie (1979) and The Beyond (1981). The finale brings the dead back with the Spanish-Italian film The Living Dead at Manchester Morgue (1974) and George A. Romero’s Day of the Dead (1985). The episode also treats viewers to an incredibly charming cast reunion of Day of the Dead.
You Are What You Wear
Thankfully, Shudder seems to have resolved the major server issues plaguing the site/app last week. Joe Bob opens the episode asking why children are told to keep their elbows off of the table while they eat. An interesting question given zombies are perhaps the least polite diners.
Joe Bob seems hopeful viewers have specifically requested Manchester and Darcy has to break it to him that it just isn’t true. He alone is responsible for the crusade to bring this movie to our screens. As he describes the plot, he says the zombies were “created by flat cappers.” Darcy makes the mistake of asking for clarification and Joe Bob is off describing European hat culture.
Manchester is written and directed by Jorge Grau and tells the story of George (Ray Lovelock) and Edna (Chrisina Galbo) as they plead with local law enforcement (Arthur Kennedy) to believe them about the zombie threat created by a new piece of farming equipment promising to eliminate crop pests.
The Drive-In Totals include but are not limited to: 13 Dead Bodies, 16 Undead Bodies, 5 Dead Undead Bodies, zombie toast, bloody psychotic infant, gratuitous streaker, and lantern fu. This movie earns four stars and high praise from Joe Bob. He says Grau figured out how to “outdo Romero with Romero-type zombies.”
I Hate Spanish Zombies
No movie presentation is complete without a history lesson. Joe Bob explains the economic and political climate of Spain under the rule of General Francisco Franco. Franco controlled most everything about life in Spain, including which films could be produced and released.
His hardline stance against horror was loosened with The Awful Dr. Orlof (1962). However, any Spanish horror films had to be filmed outside of Spain and feature foreign actors in unsavory roles.
These limitations result in Kennedy as the only American in the cast playing the over-the-top authoritarian police inspector. The inspector is actually never given a name, and Joe Bob says this is because Grau is using Kennedy’s character as a stand-in for Franco. Joe Bob disagrees with those who say Kennedy over-delivers his lines. “He’s just delivering exactly what this movie demanded.”
Manchester probably wins the award this season for the movie with the most alternate titles. Titles include but are not limited to: Weekend of the Dead, Don’t Disturb the Sleep of the Dead, Zombi 3 (no relation to the Fulci films), and Let Sleeping Corpses Lie.
New Rules
Joe Bob says Manchester is almost ““the true sequel to Night of the Living Dead (1968).” Giannetto De Rossi is responsible for the zombie design in the film. Both he and Grau studied Night intensely before making Manchester.
They receive high praise from Joe Bob when he says, “You could say that Jorge was the European George Romero and Giannetto was the European Tom Savini.”
When he goes into the more technical aspects of filming, Joe Bob apologizes for giving too much detail. These deep dives into various aspects of filmmaking keep us coming back for more so please don’t apologize, Joe Bob.
This movie does not really have a character you could describe as the hero. As with many zombie movies, Grau imbues this film with socio-political commentary. Joe Bob points out city folks will find “There’s no escape from the hypocrites and the liars,” out in the country. According to the ending of Manchester, there may never be an escape at all.
My rating for The Living Dead at Manchester Morgue:
(4 / 5)
Mail Call
There is only one mail reading in this episode and boy is it a doozy. Content warnings for SA, DV, SI for this portion of the episode.
I honestly do not feel comfortable recapping it or commenting on it. I’ll just leave Joe Bob’s words here, ““Some of these letters sound like they should be sent to a psychiatrist, you know, or a priest.”
Get Down to Business
Joe Bob gets right to it with and immediately starts talking about George A. Romero’s Day of the Dead. He begins with the start of the trilogy and says Night of the Living Dead is “the foundation film of modern horror and Dawn of the Dead is “the kind of spectacular pinnacle of that genre.”
Unfortunately by the time of Day of the Dead’s release in 1985, Joe Bob says Romero was already “made obsolete by movies he inspired.”
The movie we end up watching is a much different version from Romero’s original vision, with the working script being nearly one third of the length of the original script. Continuing, Joe Bob points out the criticisms levied against the film and Romero at release and says he still doesn’t understand the ending.
For those unaware, Day of the Dead tells the story of a group of scientists working in an underground facility guarded by soldiers attempting to solve the zombie pandemic ravaging the world. Power struggles cause chasms in the group and their plan to save the world falls apart.
Come on Down!
Before the guests start to come out as part of the cast reunion interview, Darcy appears in a beautifully shot homage to Lori Cardille’s opening scene as Sarah. Darcy awakens on set and tries to warn Joe Bob about a bad feeling she’s having. He brushes her off and tells her to “have a mushroom.”
Cardille enters the set and her presence is hard to describe. Her voice is low and soothing and she brings a measure of unexpected calm. Joe Bob starts by asking her about her father William “Chilly Billy” Cardille before moving to the film.
Her father stars as the reporter in Night of the Living Dead, though this connection is not entirely responsible for her role as Sarah. She reveals she had been approached by Romero with the original script for Day of the Dead after seeing her in a stage production of Reckless.
When Joe Bob asks about the “backyard” set up in the mines by John (Terry Alexander) and Bill (Jarlath Conroy), Cardille draws a comparison to the trailer set of The Drive-In. This obviously makes Darcy happy as she lets loose an adorable “Yay!”
Down and Out
One of the most pressing questions throughout the interview is about the gay subtext between the characters of John and Bill. When Cardille is asked, she says she doesn’t think the two of them are covert lovers.
Alexander is the next of the cast to enter the set for the interview. Joe Bob praises his delivery of the speech about the meaning of life in the face of a zombie apocalypse. He then asks Alexander if he thinks there is gay subtext between John and Bill.
When answering, Alexander is animated and lively. He puts his whole body into his answers and he smiles as he recounts a story in response to the question. According to him, Romero once joked he was going to make a movie called Gay of the Dead.
Cardille keeps reassuring everyone “that would be ok” if the two characters actually were gay and her earnestness is so endearing.
The final guest is Conroy and he certainly knows how to make an entrance. He confidently strolls across the set, grabs Alexander’s face in his hands, and plants a kiss right on his lips. The set erupts into cheers and laughter as Alexander sits with a slightly shocked look on his face.
Despite this, Conroy says he never thought about there being gay subtext in John and Bill’s relationship. Joe Bob says audiences have almost been trained in the last 30 years to look for gay subtext and this is a frustrating trend.
It is so very important to have loving and intimate examples of straight male friendship. It is something that is sorely lacking in current media and reality.
Down Bad?
The interview is not entirely focused on the big gay question. It also touches on the various working conditions of filming. There is also an entire Holiday Inn portion which brings me back to Cassandra Peterson revealing she was a go-go dancer at a Holiday Inn once upon a time.
The camaraderie is obvious as the cast sits together and the interview is the most entertaining of the season.
My rating for Day of the Dead:
(4.5 / 5)
Spill Your Guts
Lest you forget, this is the season five finale. Joe Bob has said multiple times that we never know how much time The Drive-In has left. While season six has been confirmed by the hosts, there has yet to be an official announcement from Shudder or AMC. The current state of streaming is a disaster and it remains to be seen how this will affect things in the future.
In that vein, the final segment of the episode features Joe Bob alone on set. Calling out for Darcy, he receives no response. Left alone, he begins to wax poetic about the ending of Day of the Dead. He sums it up as, “The struggle, that’s what we do.”
As he continues, zombies shamble out and surround him. He falls to the ground and begins singing a John Brennen original “See You on the Other Side.” The song sounds melancholy but as Joe Bob reminds us, “This is not the end. Oh, not goodbye.”
Much like the zombies in the films featured in the episode – the drive-in will never die. Joe Bob has a smile on his face as the zombie feast on his guts, after all.
My rating for the season five finale:
(5 / 5)
Episode four of Amazon Prime’s Fallout was a great one for character development. It was also great because one of my personal favorite actors was involved.
Let’s discuss.
The story
This episode’s story revolved largely around Lucy and The Ghoul. He’s still dragging her about on a rope, but we aren’t sure why. While she can track the Head, she certainly hasn’t shared that information with the Ghoul.
What he wants her for soon becomes clear, when he barters her for vials of the medication that keeps him from losing himself to the ghoul illness.
At first, Lucy thinks this is a step up. She’s taken by a robot surgeon named Snip Snip to get a new thumb. Since, you know, The Ghoul shot her thumb off.
However, after stitching a new thumb on, Snip Snip takes her to his masters. Who then say they want him to cut her up for her organs.
Lucy manages to escape and even frees the other people trapped by these organ brokers. In doing so, she comes into the possession of many, many of those vials that The Ghoul needs so desperately.
Meanwhile, Norm is starting to suspect that all is not what it should be in Vault 33. While the rest of the vault is preparing to elect a new overseer, he takes Chet and sneaks off to Vault 32. There, they find some horrific sights. Long dead bodies, next to messages scrawled in blood. There are especially bodies around the door that leads to Vault 31, where someone has written We Know What’s in There on the wall.
Of course, we don’t know what’s in there. But I’m sure we’re going to find out.
Norm continues to dig, checking for information on the old Overseer’s computer. And he finds that the door to Vault 32 was opened by a Pip-Boy. To be specific, it was a Pip-Boy owned by Norm and Lucy’s mother.
I’m sure that won’t be relevant later.
What worked
The more I see of this season, the more I like Lucy. She is growing and evolving as a person, just like Wilzig told her she would have to do. She is becoming harder. But her kindness and values haven’t changed yet. She is still a good person. I love that.
I also love the dark, creepy storyline with Norm. I love how serious he is, especially when compared to the rest of his community. I especially love that, even as emotionally disturbed he is by what he’s learning, he seems passionate. And from what we’ve seen of this character, this is possibly the first thing he’s felt passionate about his entire life. I am impressed with the writing and acting that have allowed us to see his lack of passion with minimal focus. He is a fun, well-written character.
Finally, I’d like to shine the spotlight on Matt Berry. He is a delightful actor known for What We Do in the Shadows and IT Crowd. And he is playing the remarkably funny role of Snip Snip, the robot surgeon. His voice lends an extra level of humor to an already funny premise. This was another example of the great casting we’ve seen so far on Fallout.
In the end, this was a great episode from all points. It was fun, heartfelt, and dark. In short, I have no notes. I’m only excited to see what happens in the next episode.
(4 / 5)
The finale of American Horror Story Delicate aired last night. And if you were watching along with us on Threads, then you already know that it didn’t live up to any of my expectations.
Let’s discuss.
The story
We begin with Anna being ushered off stage and into an ambulance. Dex is there because Siobhan called him.
Once in the ambulance, though, the blood starts to spill. And it’s not just Anna’s. She soon finds herself in the clutches of the coven, giving birth in the most anxiety-inducing place possible. And when the baby is born, he’s taken away at once.
Because that’s the agreement that Anna made, without fully realizing what she was agreeing to.
If Anna’s going to get her baby back, she’s going to have to make another sacrifice. She is going to have to join the coven herself. Is she strong enough to do it? Is she strong enough to raise a monster?
What worked
This episode did have some fun elements. As a practicing witch myself, I appreciate the addition of Hestia in a positive light. Especially when this season was so focused on motherhood, womanhood, and sisterhood, Hestia was a lovely goddess to include.
For those who don’t know, Hestia is a goddess of the home and hearth, but not a maternal goddess. She was, in fact, a virgin goddess. So Adeline’s devotion to her made sense in a real-world witchcraft way. Adeline was supposed to be a symbol of female love and support. Including Hestia in this made that crystal clear.
This was made most clear with the behavior of Siobhan. She was a perfect example of a toxic person who uses sisterhood to use and manipulate others. This can be seen clearly in the flashback that begins this episode. We see Siobhan show kindness to Anna, who she wants to use while being cruel to the woman who shared her story at the start of the meeting. For Siobhan, kindness is a currency she spends to get something. And that is clear.
What didn’t work
Sadly, those two elements weren’t enough to save this episode. My first concern is that this ending had more holes in it than Swiss cheese.
This wasn’t just a matter of having questions left after the ending. These were elements that we should have seen and just didn’t. Why were the witches diluting and working with blood near the end of the episode? Why didn’t Dex Senior get what was coming to him? What the hell was with those pointed green heels? My largest question, however, is this.
Did Anna imagine all of this? Did any of it happen? We don’t know. Consider the ending. I don’t want to spoil too much of this, so I’ll only point out Anna’s gown. It’s bloody in one scene and newly clean the next. This is only the example I can share without spoiling the ending. But we have no proof that any of these things happened to her.
While it’s fine to leave some questions up to the viewer, there were too many here. Rather than feeling mysterious, it just felt incomplete. And seeing as how this episode was much shorter than a standard one, this could have easily been corrected.
I would also like to hold some space for how this season ruined the good message of the book Delicate Condition. This novel was bloody, gory, and disturbing. But it also had a beautiful message about sisterhood, and women supporting women through motherhood, career choices, and life in general. There is so much pure, sisterly love in that book.
This is entirely missing from this season. It’s often turned on its head, with women betraying each other for their own selfish desires. And honestly, I hated that.
Finally, this season finale is another example of an ending ruining a good season. AHS Delicate wasn’t without its charm. Some episodes were great fun. There were elements that I truly enjoyed as a horror fan, a witch and a woman. But this ending just soured everything good about the season. It spoiled all of the enjoyment I had. Much like Sabrina, Dexter, and the podcast Dolores Roach, the ending ruined everything that came before it.
In the end, this finale was disappointing. It didn’t deliver on its promises, it did a disservice to the source material, and it was poorly executed. This series is more than capable of better. Delicate Condition, the novel, deserved a better interpretation.
However, as a long-time fan, I can honestly say that in twelve years of content, I have genuinely disliked a season and a half of American Horror Story. This one, and the second half of Double Feature. So while AHS Delicate was a disappointment, I am looking forward to season thirteen. In the meantime, I’m going to rewatch Coven and look forward to better stories to come.
(2 / 5)
Episode three of Amazon Prime’s Fallout continued the themes we’ve seen so far, with an added twist. With comedy and gore already blending, the story has added an air of tragic history for one of its least cuddly characters.
Let’s discuss.
The story
Our story starts with a flashback to before the bombs dropped. We see Coop, filming a movie. His wife is on set as well, and their adorable daughter. Coop has a comfortable life with a family he loves.
Isn’t that just a knife in the heart?
Back in the present, Lucy is traveling through the wastelands with the head of Wilzig. And she’s doing so with the same fear and joy that we’ve seen from her so far. Until that is, she runs into a Gulper. And after eating a defenseless deer, it swallowed up the head.
Eventually, The Ghoul catches up with Lucy and decides to capture her. After using her as bait, he decides to drag her along with him.
Meanwhile, Maximus gets a message from the Brotherhood of Steel. Rather than coming clean, he claims to be Knight Titus and is accidentally sent a new Squire. That squire is Thaddeus, one of Maximus’s bullies from the base. And Maximus wastes no time in taking some sweet, sweet revenge.
Finally, we return to Vault 33. The vault is healing from the Raider attack and the loss of Lucy. Norm and Chet are being punished for letting Lucy leave, by being fired from their jobs. This throws Chet because he had a cool job.
Norm, on the other hand, didn’t like his job. He didn’t like any job. So, since this is the only way anyone gets punishments in the vault, he’s given the task of feeding the Raiders.
And talking to the Raiders was maybe not a healthy thing for Norm to be doing. He might learn something he didn’t want to know.
What worked
The first thing I have to talk about is the massive creature called The Gulper.
This thing was fascinating. It was voracious, fast, and horrifying to look like. It was like a giant axolotl from Hell, with human fingers lining its whole mouth and throat. Why did it need fingers lining its mouth and throat? The better to drag someone down its throat and into its stomach. And the better to drag itself into my nightmares. This creature was well done.
On the flip side of this, I love the fact that the people of Vault 33 are so kind. They’re so willing to forgive, willing to care for their fellow man even when their fellow man is trying to kill them.
I don’t trust it, to be clear. But the perceived kindness from these people is uplifting. And I’m sure it will make whatever is going to eventually happen to them all the worse.
Of course, I can’t talk about the goodness of the vault dwellers without talking about the absolute horribleness of The Ghoul. The Ghoul is not a good person. He is cruel, and selfish, and clearly dislikes Lucy for some reason we do not yet know, and is probably not her fault.
But we kind of understand how he got that way, don’t we? During the flashbacks, we see that he’s lost his wife and daughter. We also see that he was used as a mascot for the very company that created the vaults. And, while we don’t have any concrete proof yet, we can probably guess that these are not the good guys. Even if we haven’t played the games, anyone who’s even slightly genre-savvy can already guess that.
Which is the last thing I want to bring up here.
We know something stinks with the vaults. Something beyond the obvious issues of wealth disparities and the people left outside to die while those who could afford a Vault spot were saved. Something is rotten with the vaults, we all know this. What we don’t know is what form this rot will take.
Not yet.
What didn’t work
Now, I wish I could say this was a perfect episode. But sadly, it wasn’t. And my biggest issue with the episode is with the character Maximus.
Now, I love Maximus. He wants to do good things in the world. He’s the underdog, and who doesn’t love that? He’s honorable and believes in the organization he belongs to.
I don’t love that he cannot do anything right. It feels like he wins fights by falling over and tripping into succeeding. And this character deserves so much more than that. Can we please, just once, see him be good at something or make a sound decision?
All that being said, this was still a fun episode. It was funny and bright, with an ominous feel and a horrific finger-ridden monster. I had a great time with it.
(4 / 5)
