NOMADS (1986)

One of the most surprising things about this 1986 oddity is that it's the directorial debut of John McTiernan, who would go on to helm Die Hard and Predator -- films that aren't known for their subtlety. Nomads definitely is. 

Nomads had always been (or at least seemed to be) considered one of those underrated horror films that threatened to become lost with time as the '80s became the '90s, and so forth. That it was included in Fangoria's 101 Best Horror Movies You've Never Seen, a valuable book that (mostly) gets it right, would seem to refute what had long been Nomad's unfair reputation. 

Nomads is a strange, quirky film that seems to be attempting to copy what Ridley Scott did for Alien back in 1976: take a B-movie concept, put actual thought into its construction, and take everything 100% seriously. Obviously, McTiernan wasn't as successful as his ten-year-old tonal inspiration - at least not in the sense that it captured nearly the same amount of audience attention and adoration - but he did manage to take what on paper is a very silly concept and flesh it out with enough sincerity that it manages to overcome its shoddy story and achieve at least some semblance of cinematic worth.

Echoing Nomads' sentiments of individuality are the performances by leads Pierce Brosnan and Lesley-Anne Down, who both do quite well in their roles. Brosnan doesn't exactly nail his French accent, but he puts every maniacal piece of energy he can harness into his role of the tortured Pommier. Down, too, does solid work, though her performance by design is a bit more restrained, even as she spirals further down into Pommier's twisted memory bank.

Nomads depends very much on imagery, tone, and a strange, almost ethereal and dreamlike mood that at times transcends the hokey story (of Nomadic spirits embodying, currently, biker gangs in Los Angeles), and every credit goes to McTiernan for achieving this. Even with his film debut, and though he would go onto projects based more on visceral thrills than weighty stories (Nomads remains McTiernan's sole [credited] written effort), he proved right off the bat that he was a filmmaker with specific ideas and an uncanny ability to exude a story rather than tell one. If any genre has proved that it can skirt by on mood and themes rather than a tangible story, it's horror for sure - example: Dario Argento's most celebrated body of work - and Nomads, in that regard, is a success.

One of Nomads’ secret weapons is the musical score. Composer Bill Conti is likely most well-known for having created what's become iconic music for the Rocky series, and like every great artist who achieves a certain level of fame and prestige, there's always at least one other work hovering somewhere in the obscurity of that artist's career, and for Conti, it's likely his work for Nomads. Very evocative of his 80s contemporaries Tangerine Dream and Vangelis, Nomads' score is alternately melancholy, sweet, brooding, and even a little magical. It fits the tone of the film overall.

Nomads hovers somewhere in No Man's Land between "films not for everyone" and "films for no one." To describe the film as poorly made or incompetent would be a falsity, as from a directing standpoint alone Nomads can be quite strong. Where viewers will be turned off is in its very abstract form of storytelling and its very esoteric concept. To say the plot out loud - a woman uses the shared thoughts of a perfect stranger to investigate a group of undead nomad spirits currently living as a big-haired biker gang in modern L.A. - is to make it sound absurd, and maybe it is. But at the same time it's such an intriguing idea that whether or not it entertains most audiences, or even some of them, it deserves points for that alone.

Oh, and speaking of Die Hard:

BURNT OFFERINGS (1976)

The haunted house setting has been around long enough, in every form of artistic medium, for it to become cliché. Even its writer, William F. Nolan, believes so, stating that "the idea of a haunted house eating people is bullshit," but went ahead with that concept anyway (the film is based on his novel of the same name) while trying to do something different.

Keep in mind that when you read the plot summary as a man and wife and their son agreeing to watch over someone's private home and serve as caretakers, and the ghosts/spirits/evils of the house beginning to infest the man and make him act in increasingly aggressive ways, all while shivering from an imaginary cold, it's hard not to immediately think of The Shining and The Amityville Horror. "Rip-off!" you might claim, but Nolan's novel was published back in '73, while the novels for The Shining and The Amityville Horror wouldn't be released for another four years.

So, unfair allusions to unoriginality aside, is the concept of a haunted house eating people bullshit? Well, if you picture a house opening wide its front door mouth and cramming in victims with its trellis arms, then yeah, that'd be bullshit (although I'd see the hell out of that AND buy the Blu-ray). But what Burnt Offerings does present instead, and which has since become cliché, is that the house is spiritually feeding off of the poor unassuming Rolf family, turning them from a boring but loving American family to terrorized and slowly monstrous shadows of themselves.

Celebrated bad-ass and booze connoisseur Oliver Reed does an excellent job with what he's given to work with, which is pretty much Jack Torrance meets a cinemafied George Lutz, and before either of those characters ever existed. He manages to bring a lot of intensity to his role as the slowly overtaken patriarch of the Rolf family. Karen Black has always been kind of a quirky performer, acting with her non-traditional leading-woman face first and her performance second. But honestly, the real stand out here is Lee Montgomery as son David, who at a young age manages to give a pretty reliable and believable performance. We've seen terrorized child characters many times, and generally they are utterly indistinguishable from the other, not helping matters with either underwhelming or entirely irritating performances. But Montgomery honestly holds his own even in his scenes with Reed and Bette Davis, and that says a lot.

The most important thing to discuss, being that this is a horror film, is its fear factor. Is Burnt Offerings scary? Well, that definitely depends on your sensibilities. Not a single specter or presence of said specter ever appears on screen. Except for Ben's reoccurring waking nightmares of the admittedly creepy limousine chauffeur he had seen as a child while at his mother's funeral (something lifted from director Dan Curtis' childhood), there's never any kind of physical manifestation of the evil that resides in the Allardyce house. No ghostly children run down the hallway in the background while a character stares into the bathroom mirror. No dripping mouth ghouls appear behind someone as they bend down to pick up the newspaper. Everything eerie occurring in Burnt Offerings is established by mood, ominous music, and the slow and psychological breakdowns of our characters.

Oh, fun fact: if the exterior of the house looks familiar, that's because it's been used in other films - most notably as the Tall Man's mortuary in the original Phantasm.

Burnt Offerings isn't anywhere near the king of the haunted house movie, but it might be one of the most underrated. Its foreboding events unfold at a somewhat snailish pace, which may prove insurmountable for more modern audiences used to something screaming at the camera every five minutes, but those with an appreciation for the old school approach will find a lot to like. That and its incredibly ballsy, shocking, and bleak ending makes Burnt Offerings an effective if somewhat silly watch for a cold autumn night.

DARK SUMMER (2016)

Dark Summer director Paul Solet became an overnight sensation in the horror world with the release of his film debut, zombie-baby shocker Grace. A film that wasn't fated to survive its own hype, it certainly presented a bold new vision from a filmmaker willing to undertake dark projects with taboo subject matter. Generally in situations like this, filmmakers waste no time in announcing their next project, whether it be solicited or unsolicited. Lucky McKee, for instance, went from May to The Woods. Brad Anderson jumped from Session 9 to The Machinist. But for whatever reason, it wasn't the same story for Grace's director. Six long years would go by before his next feature length project, this being the technology-haunting ghost thriller Dark Summer. Sadly, had it even been made just one year later, it still wouldn't have been worth the wait.

Dark Summer's biggest failure is its lack of originality; it's an amalgamation of other horror/thriller films, and it seems to know it. The most obvious comparison is Disturbia, D.J. Caruso's surprisingly solid teenage rendition of Rear Window, which also featured a troubled adolescent on house arrest after having made a very bad, emotionally-driven choice. In Dark Summer, one of its characters stares at the electronic bracelet on Daniel's ankle and remarks, "This is just like that Shia Lebeouf movie!" - as if by doing so, the film is calling itself out before the audience can. From the buzzing of flies to waking nightmares to spells of enchantment to spirited blowjobs lifted out of Ghostbusters, Dark Summer coasts as much as it can on preordained horror tropes before finally setting sail on its own merits, which, ironically, aren't strong enough to support it while remaining engaging for its rather short running time.

Dark Summer wants it both ways: it wants to present an old-school atmosphere and approach to paranormal horror, right down to the late '80s/early '90s hazy interiors, but add into the mix an almost nauseating dependency on and references to every modern Internet destination and social media site. Google, Facebook, Skype, "The Cloud" - all here, all accounted for, and all serving to handicap the story instead of servicing it. Try as filmmakers might, social media as a threat simply doesn't make for good horror-based conflict. Romero tried it with Diary of the Dead. Underground runaway hit Antisocial nearly achieved success, but became confused by its own rules. That these tools of instant communication are actually somewhat hindering our natural-given abilities for direct communication is certainly ripe for satirical reimagining, but Dark Summer doesn't do anything with it. The technological/social media aspect is presented just long enough to propel the conflict into being and then remains a background player until the third act, when the kids then begin literally Googling how to get rid of ghosts.

Though our young cast does solid work, our lead comes off  whiney and unlikeable, whereas one of his ghost-hunting friends, who remains a primary character through to the end, never even has his name spoken aloud, leaving us to wonder who he is. Peter Stormare is both completely miscast and entirely wasted as Daniel's parole officer, as well the worst police detective in probably the entire world: watch as he forbids Daniel from having contact with any of his friends, who then stay at Daniel's house day in and day out  and come/go as they please...without him noticing; watch as these same two kids sneak out of an abandoned house's closet directly behind him...without him noticing. The only bright spot to Dark Summer is Stella Maeve as Abby, who's able to convey her character's inner workings and motivations with just the nuances of her face and her longing glances. If there was only one character the audience would come away having cared about, it would be Abby. Sadly, the film saw fit to focus elsewhere.

If you've never seen a haunted house movie in your life, and if you think Twitter is #terrifying, Dark Summer just might be for you. But for the more seasoned horror crowd, its groan-inducing twist and its shock ending that for some reason resorts to black comedy at the very last second -- and this having followed eighty minutes of which there was none -- Dark Summer will feel both like familiar territory and a missed opportunity.

Thankfully, Dark Summer feels more like a stumble from a filmmaker who is capable of better rather than a sign of things to come from a one-hit wonder director. Just don't tweet about it, or adorable goth girl ghosts will haunt you.

A GHOST STORY (2016)

David Lowery is a filmmaker I love. He first burst onto the scene a few years ago with a low-key and quietly beautiful film called Ain’t Them Bodies Saints, about an outlaw couple just trying to live long enough to leave their town forever. It was gently and intimately made, and with a gorgeous score by Daniel Hart, featuring strings and soft clapping hands.

(Yep, I cried.)

Oddly, of all directors, Lowery was chosen by Disney to take on the live-action remake of Pete’s Dragon, one of the earlier reboots of an animated property the studio has been spearheading. What could have resulted in a cash grab instead became a deeply personal and surprisingly emotional film not just about a kid and his dragon, but about loss and growing up.

 (Yep, I cried.)

For a long time, A Ghost Story was cryptically known as an experimental, mystery film that Lowery had shot over the summer of 2016 with his Saints leads Casey Affleck and Mara Rooney. The secrecy behind the film was the type usually reserved for more high-profile projects, not because a major studio was worried about giving too much away and stunting the box office take, but because to attempt an explanation as to A Ghost Story’s concept and approach was just too risky. Better to see it for yourself and fully immerse yourself in Lowery’s daring creation than to catch wind of it from afar and decide, immediately, there’s no way you could take the concept seriously.

A Ghost Story is beautifully shot, though it’s obviously a raw, almost guerilla-like production. Much of the film was improvved — not just the action, but the choreography of the camera as well. It looks gorgeous in spite of all that. Dialogue is sparse, as A Ghost Story is a very quiet story, but again, the beautiful score by Daniel Hart helps to bring a cohesiveness to the action.

Some film goers balk at the idea of a critic deciding for everyone else what’s “good” or “bad” – that everyone is entitled to their own opinion. Terms like “a critic’s film” or “arthouse film” have become almost derogatory these days, with the inclination being that some films were made only to be lauded, win awards, or permeate with a sense of self-importance. I won’t deny that sometimes that happens, but there definitely does exist such a thing as a film that’s unusual, or challenging, or lacking mainstream appeal, and that’s only because that’s the kind of film it was destined to be, rather than a hoity-toity filmmaker having an ulterior motive. Audiences want to be entertained while critics want to be challenged. A Ghost Story is one of the rare few titles whose audience score on Rotten Tomatoes is more than 30% lower than the critics’ score. That should give you an indication of what kind of film A Ghost Story is. 

To me, A Ghost Story defies a traditional review, so I didn't bother. It’s less a film and more of an experience — the beauty and strangeness and specificity I could never even begin to properly laud. Please see it once, even if you hate it. Because you just might. 

But you might love it, too. 

I do.

LAST SHIFT (2014)

The more learned viewer will definitely notice right off the bat that Last Shift is borrowing from John Carpenter's Assault on Precinct 13, but this time instead of a small band of cops and clerks taking on roving attacking gangs, it's just one rookie cop taking on the demons/ghosts/bloody secret history of the decommissioned police station of which she's in charge for its final shift. And it's not just thematically that director Anthony DiBlasi (Dread) is looking to Carpenter for inspiration, but also for the old-school approach.

Like Assault on Precinct 13, there are very few visual effects employed to scare the viewer; except for the minor use of green screen, nearly every gag is done with editing and camera tricks, and all of them work. There is no CGI on hand to offend the eye. And the cast is limited to just a handful of people, with most of Last Shift being a one-woman show (Juliana Harkavy).

Last Shift feels comprised of other horror films, some celebrated and some not (and that's not a condemnation). Along with Assault, there are shades of Silent Hill, The Shining, and Jacob's Ladder, mixed with real-life horror aspects, especially Charles Manson and his so-called family. Though a digital shoot, a '70s-era level of grain has been applied, preserving that old school approach toward which Last Shift is striving. What that ultimately achieves is something old and something new - old techniques married to new sensibilities - and it's created an effective horror offering that manages to out-scare most major horror theatrical releases all the way back to 2013's The Conjuring.

Most importantly? Last Shift is seriously scary, falling back on another '70s concept beyond Carpenter and that specific era of cinema: the fear of encroaching satanism. The boogeyman and his followers featured in the flick are not Charles Manson and his Family, and are never called such (his name is John Michael Paymon, the surname being that of a demon most recently immortalized by another seriously scary flick, 2017's Hereditary), but at the same time, they are. The hallmarks are there: the long-haired, crazy-eyed, charismatic leader; the hippie chicks who follow him around; and his very disturbing agenda.

DiBlasi's efforts in the horror genre have so far been worth at least a single watch, with each subsequent film being superior to the previous. Last Shift is his best effort to date. If this trend continues, his name will be one to watch with each new project he announces.

One of the best-kept secrets of 2015, Last Shift’s intimate location and strong performance by the lead heroine really helps to put you in the middle of the horror she's experiencing. Whether or not you'll find it creepy obviously depends on your sensibilities as a horror fan, but one thing that's certain is Last Shift is going to try its damnedest. Once the horror starts, it doesn't let up until its vicious finale, and for that alone, Last Shift is worth praising.

MUTANT FAMILY VALUES: JOE BOB BRIGGS AND KEEPING ‘THE LAST DRIVE-IN’ ALIVE

My love for horror was forged in my childhood. In many of the horror reviews I’ve written over the years, whether for home video reissues of cult classics or retrospectives to honor a specific anniversary, a good portion of them had a habit of going back in time to loop in a specific childhood memory or anecdote about the title and why it meant as much to me then as it does now. Adoring the horror genre was always written in the stars for me, but my father was a major influence in getting me to look at those stars in the first place. It wasn’t that he consciously took me aside as a child to impart any kind of cinematic history whenever a specific horror flick was playing on television; it’s more that he enjoyed the genre across the spectrum, from the terrific to the terrible, and also because, even at the scant nine or ten or eleven years of age I was during that era, he wasn’t one of those parents hovering over the remote and ready to switch off anything inappropriate should their child walk into the room. He allowed it to happen because, by that time, I was already gobbling up R.L. Stine and Scary Stories to Tell in the Dark and playing with Creepy Crawlers and Monsterface in the other room. He knew it was somewhere in my blood. That’s not to say the horror genre encompassed most of his chosen entertainment, but there was something about monsters, zombies, ghosts, and masked killers that struck a chord in me, and I always took notice when those particular faces were on the screen. Either sitting next to him on the couch, or peeking around the corner just behind his seat, I caught an eyeful. It was my first experience with an education that felt worth a damn because it wasn’t being forced down my throat. It was already out there, in the world, far from any school book, and I could choose it if I wanted to. 

And I did. 

I could keep you here for days and share memories of all the different flicks I caught during those years. There was the night I made acquaintance with Halloween 4: The Return Of Michael Myers, which I think was my first exposure to the Halloween series. (Either this sequel or John Carpenter’s original always fight for that honor in my hazy memory.) I could talk at length about JAWS, Phantasm II, The Blob (1986), Darkman, Pet Sematary, along with fringe psycho-thrillers like The Boys from Brazil and Marathon Man. But one title that got repeat play in my house was 1985’s Return of the Living Dead. My father never turned down a zombie flick, no matter how bad it got (he’s still powering through The Walking Dead, so you know he’s willing to watch some bullshit), but Return of the Living Dead in particular was a favorite, due to the outrageous and vaudevillian humor that he responded to, being someone who grew up in the heyday of Laurel & Hardy. (The zombie picking up the police radio and telling command post to “send more cops” still elicits the same amount of laughter.) He is someone who'd watched so many films, horror and otherwise, that their titles alone weren’t enough to trigger association, and additional identification was needed. Return of the Living Dead often got misfiled in his brain alongside Night of the Living Dead (“the one with the basement”) and Dawn of the Dead (“the one in the mall”), and a nickname of sorts was eventually coined. Even years later, I’ll throw a mention to him of watching Return of the Living Dead, and he’s always quick to respond, “the one with the music?” It was a shorthand we developed over time, and one that still goes on to this day.

Soon after, once this foundation had been established, I set out on my own journey of discovery to see what else was out there in the world waiting for me. Sunday mornings, with the arrival of the newspaper, saw me leafing through that week’s television listings to see what horror flicks would be playing, on what channels, and at what time. The meatiest slots to check were late-night weekend lineups on the USA Network (Up All Night with Rhonda Shear was fertile ground for b-horror fun), the Sci-Fi channel, and TNT, who had a penchant for running the occasional Friday the 13th marathon for no reason whatsoever. I absorbed more movie knowledge from this mundane task than you might expect. I couldn’t have named you the first ten presidents of the United States, nor picked a prime number out of a math book lineup, but I easily could have told you that John Carpenter’s Christine was released in 1983, starred Keith Gordon, and had been awarded three stars by whoever it was that decided those things. I was a sponge, eager to absorb everything about this weird, gooey, icky genre that, for whatever reason, was calling to me.

 

I wish I knew how I first stumbled upon TNT’s Monstervision with Joe Bob Briggs. It may have been my father’s influence (he definitely knew who Joe Bob was, as he was quick to point out his cameo in Martin Scorsese’s Casino and ask, “Isn’t that the guy who watches all the goofy movies on TV?”), it may have been a happy accident, or it may have been a byproduct of Joe Bob’s hosting a particular flick that had been on my radar for a while, and which led me to his trailer, his silver bolo, and his amusing but charming southern drawl. Where things left off with my father’s influence, they continued with Joe Bob Briggs. For years after that discovery, every Saturday night was set aside for catching Joe Bob and hanging out with him during whatever double feature he had in store. Not every title that got the Monstervision treatment was a winner, but it was impossible to walk away from watching Joe Bob’s segments without learning something about the genre, or the production history of the movie, or the filmmakers and actors involved, all of which enhanced your appreciation of this title for which you may not have otherwise cared. Keep in mind that this was the mid-to-late ‘90s, and consumer internet hadn’t yet swept across the land. For every house that had a gigantic boxy computer and a dial-up subscription to Prodigy or AOL, ten houses in between did not, so the idea of “meeting” like-minded Monstervision fans in chat rooms and message boards had yet to become a mainstream, everyday reality. (And yet I still remember the URL for the old Monstervision website – “TNT dot Turner dot com forward slash Monstervision” – since it played during every commercial break.) Even the show’s set suggested Joe Bob was this strange, elusive figure living in isolation in the middle of the desert, far from the constraints of normality and good taste, and I’ll be damned if you didn’t wish you could park a trailer right next to him and hang out for the rest of eternity. The set was less of a gimmick – that of the typical redneck who lives in a trailer and watches television outside – but more of an indication of what Joe Bob Briggs and Monstervision were all about: appealing to the mutants and freaks on the outskirts of polite society. 

Monstervision was an anomaly on television. It didn’t feel like part of anyone’s plan, and certainly not the intended product of such a conservative network, thanks to Joe Bob’s at-times politically incorrect humor and the offscreen laughter of his crew, which violated the rule in the production handbook: never break the fourth wall. But there was a method to his madness: the whole point of Joe Bob’s schtick was to make his viewers feel as if they were sitting on the other side of that set as he talked to us, friend to friend, about the merits of Wes Craven’s Swamp Thing or Larry Cohen’s The Stuff. During this time, on another channel, you had Siskel & Ebert At the Movies where the persnickety critics were giving the thumbs down to stuff like Friday the 13th and My Bloody Valentine, but on TNT, you had Joe Bob rejoicing in the antithesis of that philosophy and exploring the kinds of films that were often left abandoned by the snoots who believed they were above it all. From his outlook, all films contained something to celebrate, and all films were worth seeing at least once. This was a wild and risky approach to a weekly television show, along with the fact that it didn’t air at the same time every Saturday night, sometimes getting pushed back almost an hour thanks to some basketball nonsense. It wasn’t a show that waited for you at the same time every week – you almost had to luck out and catch it, like an animal in the wild – but even when the show ended during its typical time, it was usually around one or two in the morning. In my mind, who in the blue fuck was watching this goofy show that didn’t appear to have a script or follow the rules and which highlighted cinematic bilge like Children of the Corn 2 and Project Metalbeast? Who was staying up this late to catch some weirdo movies hosted by some weirdo guy cracking wise in between commercial breaks? It all seemed so odd and accidental, like someone had hacked their way into TNT’s broadcast signal Max Headroom-style to feed some horror flicks to a hungry audience only to disappear before the sun rose and TNT’s board of directors had climbed out of their mansion beds.

 

I don’t remember every episode of Monstervision I ever saw, but I do remember the ones that featured a particular flick that would go on to sustain my love of the genre: 1990’s Night of the Living Dead, 1988’s Phantasm II (watched in full this time), Wes Craven’s Deadly Friend, the legendary three-hour cut of Needful Things that’s never been released on video, even 1982’s Halloween III: Season Of The Witch – a movie I hated, hated, hated as a kid, but which I now love as an old-ass man. What was it about this show that stuck with me all these years? Why is it that, twenty-five years later, I can remember certain things Joe Bob said about the movies being shown that night, like Halloween III being the black sheep in the franchise for not having Michael Myers “with the white stuff on his face,” or Phantasm II being “the sequel that took Don Coscarelli nine years to make”? Joe Bob Briggs not only solidified and legitimized my love for horror, he inflated that love by adding new titles to my library or enhancing my knowledge of the ones I already knew, every week, without fail (unless goddamn basketball was on). Joe Bob Briggs was just fuckin’ cool, and he liked horror, so if I liked horror, then hell, I was cool, too, and what a nice feeling for a kid who didn’t have a lot of friends and who was fifty football fields away from being cool.

When Shudder announced in 2018 that they would be returning Joe Bob Briggs to the small screen for one last Monstervision-inspired Dusk-to-Dawn movie marathon, as well as giving him the sendoff he deserved but didn’t receive after being unceremoniously let go by TNT, it was kismet. It didn’t just feel like something I wanted to happen, but something the entire horror community needed to happen. The genre had been riding the nostalgia bandwagon for years at that point, getting lots of mileage from resurrecting old franchises and creating new ‘80s-inspired entertainment like the massively popular Stranger Things, which started out with good intentions and soon gave way to shameless fan-wanking with characters dressing as the Ghostbusters and singing the fucking theme song to The Neverending Story. You can pump all the ‘80s synthwave and John Carpenter fonts you want into your movie’s trailer, but it’s no easy feat to recapture the mood, the feel, the spirit, and the essence of a specific time period of the genre. 

But if anyone was going to do it, it was Joe Bob Briggs.

 

By now, we all know the rest is history. Shudder, Joe Bob, and his new sidekick Darcy the Mail Girl, who features much more prominently and significantly than the mail girls of Monstervision old (she’s the show’s preeminent superfan, social media guru, and street team all in one), broke the internet the night of the Dust-To-Dawn Marathon. Joe Bob’s return/“retirement” was so successful that Shudder brought him and Darcy back again and again and again. Monstervision had been reborn, this time known as The Last Drive-In. The fans demanded it, and not just because we wanted it, but we needed it. Briggs’ return to the format was a return to a simpler time – when event television was still experienced at the same time for every viewer, when there still existed the concept of live programming, when it was okay to be politically incorrect every so often, and when it was encouraged to celebrate weird, gooey, and icky cinema. But it was also a return to a time when life outside our front doors didn’t seem so alien and dangerous and downright sad. We needed entertainment, yes, but we needed a familiar and comforting presence to bring us that entertainment, too. And with his first on-screen appearance, it was beyond satisfying to see that Joe Bob and co. hadn’t missed a beat. Joe Bob’s trailer, both inside and out, had been faithfully recreated, littered with beer bottles and cans bearing Texas stars. The southern duds were back, along with the boots, the bolo, and that amusing but charming southern drawl; Joe Bob was still opening shows with unrelated rants and closing them with a double dose of jokes so bad you couldn’t believe you were laughing at them. To paraphrase Freddy Krueger, Joe Bob was back and better than ever.

Yet, there was and is something else about The Last Drive-In that feels new, different, but not altogether foreign. An awareness – exuded not just by Joe Bob, but by Darcy, the crew, and all of Shudder – that this was special and not to be taken for granted. That even though, in the grand scheme of things, this is a niche show for people with tastes in niche movies, it’s still important, and even therapeutic. Yes, of course the ultimate goal is to have fun, and watch flicks both terrific and terrible, and engage each other on social media through our shared love of the genre, but there’s something else we all need to do, and it’s this: to enjoy this now, for as long as we can, while we still can. Guys, it’s been fucking tough these past five years. The planet is dying. A highly divisive and some would say dangerous president is in the White House. Racial disharmony is at the highest it’s been since the 1960s. As I write this, we are approaching the fifth straight month of lockdown thanks to the raging COVID-19, which has taken the lives of so many people that I can’t give you the current number because I just don’t have the heart to look anymore. The party could end at any time, and for many of us it already has. I’m not saying that Joe Bob carries the burden of trying to counteract all this madness within the confines of his ultimately powerless show, because only a bleeding-hearted martyr thinks like that, but I do think Joe Bob genuinely wishes he had that kind of power. Though The Last Drive-In is nearly a carbon copy of Monstervision, yet massively improved by the presence of uncut HD movies and segment breaks much longer than the lousy forty-five seconds TNT allowed way back when, there’s a poignancy to his return, bolstered by an unexpected melancholy that appears during every final episode of the season. Whether it’s Joe Bob opining about the whole point of his various shows over the years – the 1980s' Joe Bob’s Drive-In Theater, or the 1990s' Monstervision, or the 2010s' The Last Drive-In – which was to bring us mutants together to relish in our favorite genre, or it’s the production turning the set into a high school dance to give Darcy the prom she never had, or Joe Bob singing a soft, somewhat broken, and pensive iteration of The Last Drive-In’s normally rockabilly theme song, it’s the acknowledgment that every season could be the last season. Every show could be the last show. Every recitation of the drive-in oath could be the last promise we ever make. We are lucky we still have him as our host, and, if I can be bold, he is lucky we still look to him for that sense of need. We are lucky we still have each other – me, the person writing this, and you, the person hopefully reading it – even if we’ll never know each other in real life, even if Joe Bob will never be more than a face on a television screen. We are here right now, sharing space, acknowledging each other’s existence, because Joe Bob brought us together.

 

Along with his now famous, pre-movie Drive-In Totals, which let us know how many breasts and gallons of blood awaited us in that night’s double-bill, Joe Bob has coined many phrases over the years. There’s “aardvarking,” “Joe Bob says check it out,” “if you know what I mean, and I think you do,” and lastly, “the drive-in will never die.” That last one isn’t just a statement, or a wish, or a prayer to the gods of b-moviedom. It’s an acknowledgment – a promise made by him, and a command bequeathed to us all. The drive-in isn’t just a flat cut of vomit-splattered land with rows of crappy speakers and a large stained silver screen. It’s a movement. It’s a collection of genres. It’s a mindset and a community. That’s what Joe Bob’s drive-in oath was all about. He’s been doing his part since the 1980s to keep the drive-in alive, through his newspaper columns, his standup specials, his books, his DVD commentaries, his convention appearances, and his three – count ‘em, three – television shows over the years. The drive-in will never die, and such a trivial collection of words has never been more romantic.

But what is it about horror that’s so romantic? Why does this genre that so often runs gleefully away from sentimentality and good taste act as such a lightning rod for longing, wistfulness, and happy sighs? Why do I get goosebumps when I’m looking at side-by-side photos of John Carpenter and Jamie Lee Curtis on set of 1978’s Halloween and 2018’s sequel of the same name? Why did I get hit with the feels during Phantasm Ravager (even though I kinda hated it) when seeing what the scourge of time had done to Mike Pearson and his best friend, Reggie? Is there something about this weird, gooey, icky genre that drives this notion of romance, or am I the one assigning the romance because the horror genre is the only thing that’s remained consistent throughout my life? Why does it fill me with such joy to see the likes of Kelli Maroney and Ashley Laurence and Tom Savini sitting alongside Joe Bob as their movies play, relishing in the fact that their work is still being celebrated all these years later? How am I supposed to feel that, when I was a kid, Barbara Crampton was among my first onscreen exposures to girls and sex and what that all meant, but that we’ve aged to the degree where I’m now a so-called man while she’s become an almost motherly figure in the horror community? Well, I can tell you how that feels: comforting, and right, and the tiniest bit sad. Is it because I spent a childhood watching their movies and seeing them in DVD supplements and reading their interviews in Fangoria? Is it because they were always there, enthusiastically taking part in this strange genre that none of the other kids at school were into? Is it because I got so used to seeing them that they felt like this odd, alternate family who never came to Christmas dinner, but who were no less important? 

And finally, am I really the only one who feels that way? 

 

If there’s one thing I’ve learned in this life, it’s that time is precious, but it’s also sadistic. It can’t be bargained with, it can’t be reasoned with; it doesn’t feel pity, or remorse, or fear; and it absolutely will not stop, ever, until we are dead. The horror community has already suffered tremendous blows over the last decade from the losses of Wes Craven, George Romero, Tobe Hooper, Stuart Gordon, Larry Cohen, Joel Schumacher, and I have to stop because the tears are coming already. It’s impossible to replace a director who has made your favorite movies, who entertained you for twenty or thirty or forty years, who created a ninety-minute slice of escapism that allowed you to feel less lonely, that pulled you back from the precipice of depression and despair – and I’m talking to you, specifically, right now, because you know exactly what I’m talking about – but I am eternally thankful that we have the likes of Mike Flanagan, James Wan, Leigh Whannell, Guillermo Del Toro, Jason Blum, and many others working tirelessly in the horror genre to keep it alive and introduce it to new audiences. They’ll keep the candle burning in the terror tower to guide our entire, ever-expanding mutant family home. And for as long as Joe Bob Briggs has it in him, I hope he’ll continue introducing films made by the new generation to the new generation. 

We are people, which means we’ll die. It sucks, and it’s scary and sad, but that’s what we do. That’s our role. All we can do is fill this world with every positive thing we can while we’re still here – if we’re writers, then with our stories; if we’re directors, then with our films; and if we’re fans, then with our passions, our sense of community, and our want and need and responsibility to care for and about each other. These things will never die because they are eternal, and they’ll live forever on movie screens and in the eyes, ears, and hearts of every new generation that finds them. This is why horror. This is the point. Through this, we’ll all live forever, because this what the drive-in is all about.

And the drive-in will never die.

[Reprinted from Daily Grindhouse.]

GHOST TOWN (1988)

Remember that one time you went on vacation with your family to Tombstone, Arizona, or Dodge City, Kansas, and just after finishing your "Buffalo Bill Burger Blast" you went outside and caught the noontime showdown in the street between those two guys in the really bad beards shooting each other with blank pistols whose gunfire seemed to be coming out of the crackling speakers behind you instead of the deadly instruments grasped in their hands?

That's Ghost Town, in a nutshell, with costume store make-up. It is glorified dinner theater with a horror bent and a budget slightly higher than the one possessed by those people who put a little too much effort into their front lawn Halloween displays. And of course, there's obviously nothing wrong with this, because Ghost Town, despite its obviously low budget, its lack of anyone with name recognition (beyond Bruce Glover), and its somewhat restrained use of visual effects (how many times "ghosts" disappear/reappear on screen after a while becomes hilarious), remains an infinitely watchable film, perfect for those late nights when you don't want to surrender to sleep just yet, but you don't want to watch anything heavy. It's Ghost Town, all the way.

What's refreshing about Ghost Town (and unlike many other Charles Band productions) is that everyone on screen knows they're making something silly, yet everyone is sincerely giving it their all. Not every performance is Day-Lewis caliber, but obviously that doesn't matter, because even though the film revolves around a hapless deputy wandering into a ghost town in the middle of the desert and stumbling upon a collection of ghosts, skeletons, and people trapped in time, every member of the cast does admirable work, including the Michael Bay lookalike lead character of Langley, played by Franc Luz.

With a typically quirky story by, at one time, go-to Full Moon Pictures auteur David Schmoeller (interviews with him here and here), Ghost Town is charmingly innocent and not the least bit pretentious. Band became a producer infamous for not only low budget horror, but low budget trash horror, which has only gotten worse over the years, so to see his name affiliated with a project built on good intentions of just trying to tell an old fashioned story is not only surprising but welcoming. Except for the icky ghost make-up exhibited by some of the on-screen ghouls, and a few moments of bullet carnage, Ghost Town isn't terribly violent, either. (It also exhibits the most restrained and tasteful allusion to ghost rape probably ever.) Its tone goes for serious but light at the same time, and except for a moment of side-boob, Ghost Town feels like something to put on for the kids on Halloween night.

Ghost Town's "rules" get a little fuzzy as the film progresses: sometimes the characters Langley encounters are ghosts, sometimes living skeletons, and sometimes living folks (?) "trapped in time," and after a while it's hard to figure out what exactly is going on, and who is in danger of what (apparently those trapped in time can still die - again, or for the first time), but Ghost Town's intentions are pure enough that after a while none of this really matters. There's no denying that the film is patently stupid, but that's okay, because the amount of love that went into this production evens out its inherent stupidity, resulting in a good time.

Ghost Town is deliciously, lovingly, charmingly, and acceptably stupid. It's the perfect example of a title that would have fallen into obscurity in the years following its release just because of how odd, quirky, and somewhat kid-like it is...and let's not forget those visual tricks on the same level of a ghostly Unsolved Mysteries episode.