Y’know if you study that above gif closely, it’s almost as if Jason is giving little Tommy Jarvis a big hug.
Perhaps it’s this demented way of thinking that made me realize when you remove all the murders from Friday the 13th: The Final Chapter, it actually looks like some cheesy 80s sitcom. So, I did just that!
I finished by slapping some nondescipt 80s keyboard music behind it, and boom: no longer an 80s horror movie, but an 80s sitcom about a loving family with a big cast of characters and that wacky neighbor Jason who always seems to barge in at the wrong time.
So enjoy. Y’know, now that I’m thinking about it, those wacky teens from A Nightmare on Elm Street 3 would make for a great Just the Ten of Us-style show. Hmm…
I was raised by T.V. That makes my parents sound really neglectful, but I assure they weren’t. There was just no activity I found more comforting than watching T.V., and if it kept me quiet and compliant then my folks were definitely okay with it. Even if I was drawing pictures, or eating a snack, or playing with GI Joes, the T.V. was guaranteed to be on, if nothing more than for those little moments when my concentration on the task at hand would break and I’d want a different distraction. My life was pretty much like the intro to HBO’sDream On(making a reference to T.V. about how my life is like…T.V.) Needless to say, I have a lot of memories of hours spent in front of the tube. Those memories remind me of being young, they remind me of being home; they’re happy memories.
I won’t say T.V. was better back then, but I feel like basic cable television took a lot of chances at a time when pushing the boundaries or being edgy wasn’t expected the way it is today. A lot of artistic chances. At times watching T.V. made me feel like I was on another planet or seeing things that no one else could possibly understand. I’m sure it had something to do with my young age, but it wasn’t just entirely that. There was the surreal, salacious animations ofLiquid Television. There was the straight-to-video schlock of USA Up All Night, which was hosted at different times by both Gilbert Gottfried and Rhonda Shear. There was Comedy Central, back when it was called ‘The Comedy Network’ and literally only played episodes of Mystery Science Theater 3000, all day. It was like the Wild West. It was exciting.
Saturday night was a particularly stacked night for television in the Jose household.
It would begin with SNICK – the clever portmanteau of “Saturday Night Nickelodeon”. The line-up would change over the years, but the two heavy hitters – The Ren & Stimpy Show and Are You Afraid of the Dark? – were constants. After Are You Afraid of the Dark? was over, I’d immediately switch over toHBOfor a couple episodes of Tales From the Crypt. I’ve often talked with friends about how this era (from ages 9 to 12) was great because I wasn’t too young for the hard stuff but I also wasn’t too old for the softer stuff.
After TFTC, if there wasn’t anything of interest on (sometimes an episode of Dream On, and a few years later, the great Dennis Miller Live), I’d see if there was anything good happening on Saturday Night Live. After SNL, I’d flip over between two local stations – one played Liquid Television, the other played old shorts of The Three Stooges. Everything I’ve named has been instrumental in making me who I am today. In fact, at times I feel less like an actual person and more like the perfect algorithm painstakingly constructed by a desperate television programmer with pages of Nielsen ratings stuffed in his backpocket. Back then I was like Lewis and/or Clark, discovering new, untraversed landscapes of cathode-illuminated interlacing. But I digress.
Onto the topic at hand: MonsterVision. At some point during my exploration, I discovered a show I would immediately fall in love with and abandon all other Saturday night fare for (who am I kidding – I was an obsessive ‘flipper’, constantly jumping back and forth between channels.)
Popping out from a mobile home that was resting on cinder blocks, with a koozie-nuzzled Lone Star in hand, was a tall, bolo tie-wearing good ol’ boy named Joe Bob Briggs. He spoke excitedly in his 100% authentic Texan twang about The Three B’s: blood, breasts, and beasts. He had his own lingo, affixing “-fu” to the ends of words, an all-purpose suffix to give them more oomph. He would break down a movie by how many decapitations, nekkid women, and explosions it had and tally them all on his ‘drive-in totals’ list. And he never missed an opportunity to talk about his metallic blue ’73 Toronado.
Needless to say, he was the coolest dude on T.V. (especially to a 10 year old boy.)
Perhaps it’s because he reminded me of my own dad – a tall and lanky beer drinker full of antiquated southern sayings himself – that I took so immediately to Joe Bob. He reminded me of the man that raised me – doesn’t get more familiar than that.
During MonsterVision, Joe Bob would usually show two movies, beginning with the more popular film first. On special occasions he’d do something longer – like a memorable Halloween episode which saw him have a Friday the 13th marathon. The running joke throughout the entire 12+ hour episode was what a crappy TV station TNT was and how cheap TNT magnate (and Joe Bob’s boss) Ted Turner was. But this type of trash talking happened in almost episode.
This was perhaps the most magical and enjoyable aspect of the show: the fact that there didn’t seem to be any rules. Joe Bob could get away with anything.
In between commercial breaks before heading back to the movie, Joe Bob would come on and talk about whatever he wanted while nipping at his beer. His ex-wife, guys he used to know, his opinions on world issues. Every episode he’d be visited by buxom mail girl Honey (and in later episodes, buxom mail girl Rusty.) After a few minutes of flirting with Honey desperately and unsuccessfully, she’d deliver actual fanmail which Joe Bob would read on the air and respond to in his own witty Southern way. The format was loose and off-the-cuff, and that made it feel more personable, as if Joe Bob were talking to you directly. Another common occurrence was Joe Bob interacting with his off-screen camera crew (who could often be heard snickering and cheering.)
Lastly, one of my favorite things about Joe Bob is his enthusiasm. You can tell that he not only loves the films he watches and reviews, but that he loves doing it. The earnestness of his zeal is as clear as day – this man is the real deal. He wasn’t some paid talking head being fed facts from a TelePrompter. This was before the internet, before Google, before Wikipedia. All of Joe Bob’s wisdom was learned, soaked up from his days and nights spent sitting in front of a 70-foot vinyl movie screen.
Joe Bob Briggs previously had a show on TMC, Joe Bob’s Drive-In Theater, but my introduction to the man was through MonsterVision on TNT, which followed the same exact format. And as I got older, I tracked down other Joe Bob outlets, such as his stand-up specialJoe Bob Briggs: Dead in Concert, his renownedfilm commentaries, as well as his books (I’ve only read Joe Bob Goes to the Drive In, but I love it and say check it out.) He’s a personal hero, sure – but he’s much more than that. He’s an active and outspoken supporter of film and the horror/exploitation genre. And he’s probably the smartest hillbilly there ever was, graduating from Vanderbilt University on a writing scholarship.
So Joe Bob, this one’s for you. An endless amount thanks is due to you for your contributions to the horror and exploitation scene, and for showing that being a beer-swilling goofball who’s chock-full of esoteric movie facts ain’t such a bad thing to be.
Everyone reading this, do yourself a favor and take theDrive-In Oath. And remember: The drive-in will never die.
Hollywood gets a bad rap. People think of it as this horrible money machine, but the truth is Hollywood has nothing but a filmmaker’s best interest in mind. Believe it or not, producers and financiers actually care about creativity and artistic vision and want nothing more than to protect the filmmaker’s creation, and they want to encourage originality by supporting new ideas. Hollywood is about integrity and respect.
No, I’m only kidding. Hollywood is a bloated, greedy monster that cares only about how much money a film makes and absolutely nothing else. And if a film can somehow keep making boatloads of money years after its been released, even better! But how do you do that? Make it a franchise. There are no better cash-cows than horror franchises. Perhaps you’ve heard New Line Cinema referred to as “The House that Freddy Built“, due to the popularity of the A Nightmare on Elm Street series. And how do you build a house? Money. Lots of money. Continue reading Not-so-awful Sequels! (Part One)→
The internet has been scary ever since America’s sweetheart Sandy Bullock was thrust into danger and forced to fight for her identity and – more importantly – life in 1995’s The Net. In fact, and don’t quote me on this (unless I end up being right, of course) but, I think that may even be the first “The internet! It’s scary!” movie to be released.
Since then, as the popularity of internet-usage and Angelfire domains has grown, so has the inclusion of the internet or internet-themes in horror and suspense films. It’s a natural and understandable progression: horror has to tap into current and relevant topics and issues in order to be effective. I mean, a movie about killer polyester pants maybe wouldn’t be as effective today as it would’ve been 40 years ago. And if Lloyd Kaufman is reading this: back off – that idea is all mine.
The ‘internet is scary’ as a horror theme is still going strong today, with the soon to be releasedUnfriended, a film that is being proudly promoted as the first movie to take place solely through webcams – aconceptwhich was originally used in 2012’s V/H/S, confusingly enough. That’s right: a movie named for the obsolete act of analog recording onto magnetic tape has an entire segment dedicated to live computer chat. Try to figure that one out.
Unfriended is also being deceptively promoted as ‘shot in one take’. I mean, gimme a break. For one, it just isn’t true. But also, you’re way late to the game, baby – this ain’t anything new to the genre: the Spanish horror filmLa Casa Muda (The Silent House)did the ‘one take’ thing in 2010, andSecuestrados (Kidnapped)(also from 2010) is composed of just 12 shots. And it ain’t anythingGaspar Noehasn’t explored at length in his films – and effectively, I might add. But I reluctantly digress. But also, watch those movies I just mentioned.
So with this overextended FaceTime flick soon to be released, I thought I’d dust of some old classics – much in the way one would dust off an old AOL subscription disc. Sit back, sign in, and listen for thedial-upas I look back on a few films that tried to warn us how scary the internet is.
The same year The Net was released, Copycat came out. And while not technically an internet horror flick–
Alright, I take that back. It’s kind of an internet crime thriller. Sigourney Weaver plays a criminal psychologist who is left so emotionally broken after she’s attacked by a serial killer that she holes up in her hi-tech apartment and communicates with the outside world solely through her computer. Eventually, a different killer (hence the title of the film) starts harassing her via her computer and wreaking all sorts of havoc in her life. I saw this in the theater with my folks when I was 11 because I thought Harry Connick Jr. was a terrifying character in the preview. It was an early lesson in “movie previews are only there to get you in the theater, no matter how deceptive they may be.” Also: love that line from the above picture.
Long before Rob Zombie realized hard rock dudes could make super referential horror movies, Dee Snider (of Twisted Sister fame) wrote and produced Strangeland, which I think is the first chatroom-based horror film. For one of the first films based around the subject, this movie really came out guns ablazin’: a young girl and her friend are lured via chatroom to a sadistic murderer’s house, where – surprise – he tortures and kills teen girls. Although the movie was generally pretty panned, I think it took a lot of chances – or at least tried some new things, and dipped into some often unexplored themes when it comes to your standard horror flicks.
I have, admittedly (and proudly), not seen the universally hated shitfest that is Feardotcom. From the terrible title to the Stephen Dorff kiss of death, the movie seemed doomed from the start. From what I can piece together, it sounds like a mix between The Ring and Videodrome, with tons of extreme violence sprinkled in for good measure. You’d expect more from thedude who designed Michael Myers’s mask. One final thing about the atrocious title before we move on: when the movie was in pre-production, the title of the website used in the film was “fear.com”, despite the producers not owning the rights to that name. They later had to change the name to “feardotcom.com”, which is so laughably awful you wonder why they just didn’t come up with an entirely different name for the website altogether.
2002 saw the release of another terrible internet-based flick with a similarly appalling name (and another I’ve happily avoided), Swimf@n. It seems like Fatal Attraction for the web age. All I know is: 2002 was not a good year for web-based horror. Thankfully, 2005 saw two good ‘net flicks be released.
First was Hard Candy, starring a then unknown-to-American-audiences Ellen Page. This is another chat-based revenge flick which sees a creepy pedophilic photographer being lured into a trap via online chat by a tough as nails, vengeance-fueled teen. Not an outright horror flick by any means, but definitely some very unsettling scenes.
2005 also saw the release of Cry_Wolf.
Much like both Feardotcom and Swimf@n before it, Cry_Wolf used a title choice that made it abundantly clear you were watching a movie centered around the internet. It even had an AOL tie-in promotion when it was released – And it still has an impressive and still-active website!
This film kind of capped off the “young ensemble cast being picked off by masked mystery killer” trend that Scream had kickstarted a decade earlier. By this point, remakes and paranormal films were starting to become the popular draws at the theater. I actually dig Cry_Wolf and would recommend a viewing if you’ve never seen it.
The last movie I wanna bring up is Trust. This movie should terrify anyone, whether you’re a 14 year old who plays regularly on the internet, or the parent of one. This is by no means a horror film, but considering it’s based in reality, it makes it much scarier than an unkillable dude in clown mask.
Essentially, the story focuses on a young girl who begins chatting with what she thinks is a cute boy the same age as her. They agree to meet, and it all falls apart after that. The movie not only deals with what happens in those scenarios, but the way friends and family handle the situation afterwards. It’s an icky movie that makes you hate the world a little more after watching it. And hey! Ain’t that what movies are for?
Now, there have been ‘evil computer’ movies before and since these films.Lawnmower Man,Ghost in the Machine, andBrainscanall deal with the horror of computers on a more technological level. Hell, computers have been evil ever since HAL went kamikaze in 2001: A Space Odyssey. But if you’re lookin’ for some scary internet flicks, this list is a good place to start.
This has been Dr. Jose, warning you to change your password every 60 days and never send money to anyone in Nigeria.
There’s a well-known scene in Friday the 13th 4: The Final Chapter, which sees Crispin Glover at a party, asking a girl to dance. But instead of dancing, he just flails about wildly in start/stop herky-jerky motions.
The song used in the scene was “Love is a Lie” by the group Lion. However, the word is that they were actually dancing to “Back in Black” by AC/DC on set, and had to dub the aforementioned song in afterwards.
So I went back and added AC/DC’s “Back in Black” to the scene just to see what it would look like – and if it would help Glover’s dance moves make any more sense.
I think Crispin was marching to the beat of his own drum on this one.
Horror movies and drinking go together like…horror movies and drinking. Whether you’re tying a few on while watching a splat show with a couple equally buzzed buddies, or if the drinking is happening among the characters in the movie itself, there just seems to be no better suited pairing than beer and blood.
So, before you puke up your green-dyed guts and pass out earlier than 6pm on this, the booziest of holidays, take a moment to read my list of great horror movie drunks! You might just pick up a few ideas.
I gotta get the obvious choice out of the way right off the bat: Jack Torrance from The Shining. Nicholson’s Torrance is the epitome of “great horror movie drunk”, a recovering alcoholic who battles demons both literally and figuratively. Stephen King, author of The Shining, is himself a writer who struggled with the bottle, so perhaps writing this wasn’t much of a stretch for him. But if ever there was a film that could convince me to abstain from drinking, it’d be this one. (Nah, not really.)
Another great “drinking will ruin your life” film is 1971’s Wake in Fright (aka Outback), a terrifying thriller set in the sun-soaked Australian desert. A mild-mannered teacher on his way home for summer break has a layover in a small town inhabited by the scummiest, most desperate drunks on the continent. The frightening part is just how quickly and easily the sensible John Grant slips into their debaucherous ways.
It’s a beautifully shot film that really emphasizes the importance of beer to these low-lifes. But man, they do make drinking look good. Be right back, I’m feeling thirsty.
I can’t think of a more perfect actor to portray Jud Crandall than Fred Gwynne. A tall, lanky hick with a garbled Maine drawl, he’s a good-hearted old-timer who cares for the neighbor’s kids, but he doesn’t sugar-coat the facts about life and death. And in his spare time, he likes to unwind with a Budweiser or six.
He even likes those little stubby 7 oz. bottles! But ever the equal opportunist, he offers plenty of love to the long-necks, too.
There’s just something authentic about Gwynne’s performance. When Crandall sits on his front porch, sparks up a cigarette, and cracks open a Bud – only to be seen nodding off a few scenes later – you can’t help but believe Gwynne knows from personal experience exactly what his character is doing.
“Darlin’, you’re gonna be the death of me! But what a way to go…” Those are literally Martin’s final words, right before Crystal Lake mainstay Jason Voorhees uses the whiskey bottle he’d just been drinking from to gouge him to death.
If I had to maintain a cemetery near Camp Crystal lake, aka “Camp Blood”, aka “Camp Forest Green”, I would probably talk to my pint of whiskey, too.Martin is a likeable old coot, so it’s a shame to see him go. Earlier in the film, upon discovering Jason’s grave had been dug up, he immediately reaches for his flask…
And after wiping away the dribble, he looks directly into the camera and addresses the audience: “Some folks sure got a strange idea of entertainment.” They sure do, Martin, they sure do.
Gary Busey is a goddamn treasure in Silver Bullet. Not only does he deliver the type of performance that convinces the viewer he wasn’t even aware he was filming a movie, but he portrays unclehood in such a way that you wish he was your uncle. Easily the world’s greatest cinematic uncle since Buck. He tells you dirty jokes, plays cards with you, and builds you a rocket-powered wheelchair – all while chipping away at a bottle of Wild Turkey. Who wouldn’t want him hangin’ around the house all time?
Look at that face. I been there, brother.
Like the aforementioned Martin the gravedigger, Kurt Russell’s helicopter pilot, R.J. MacReady, is a sympathetic drunk. What else are you supposed to do when you’re stationed in the middle of nowhere Antarctica? Poker with the boys can only be entertaining for so long. It wouldn’t be long before you’d feel the urge to numb your brain to save it from isolation madness. The fact that there’s an unseen killer among your group probably ain’t too good for the nerves, either. And in a wonderful homage, wouldn’t you know it? R.J.’s drink of choice is J&B scotch – a favoritedrinkamonggialli films.
Can you imagine the type of light sensitivity you’d have when the sun was glinting off pure whiteness, everywhere? Those awesome goggles are a must for anyone hungover in arctic territories.
The Halloween franchise has been spotty at best. As the series progressed, the story got murkier and murkier. And the characters? They didn’t fare much better. They weren’t likable or memorable. In fact, any fringe characters that showed up in the later sequels you knew were just thrown in to be chum for Michael Myers. But Halloween 4 – one of the best entries besides the original, in my opinion – managed to have a fun, straight-forward premise and also featured characters you were interested in – from stepsister Rachel, her horny boyfriend Brady, and hell, even Wade was enjoyable, and he’s only onscreen for two minutes:
But one of the best secondary characters has to be Reverend Jack Sayer. His screen time is even less than Wade’s. However his appearance may be the most important in the entire series. The scene sees him pick up a hitchhiking Dr. Loomis on a lone, dusty highway. The two men don’t know each other, they’ve never met, but Rev. Sayer feels an immediate kinship to Dr. Loomis. In fact, he seems to know exactly what it is Loomis is after.
“You’re huntin’ it, ain’t ya? Yeah, you’re huntin’ it alright. Just like me…You can’t kill damnation, Mister. It don’t die like a man dies.”
While Sayer is hunting a more metaphorical evil and Loomis a more literal evil, the two men share a common end-goal, and for once in the entire series you have a character who not only understands and empathizes with Loomis, but one who doesn’t look at the Doctor like he’s a madman. (I mean, except for that screenshot above. Ignore that.)
The two men share another thing in common: a fondness for the drink. So when Sayer offers up some liquid warmth, Loomis gladly accepts. And as he drinks, the reverend sings a gospel to lighten the mood. And it’s only the second time in the entire series that we see Loomis crack a smile – a brief moment of relief; they’re no longer two men spending their remaining days hunting evil – they’re just two men enjoying a drink and each other’s company.
“Lay off the fuckin’ booze for awhile, why don’t ya?” This is a question posed to (yet another) drunken helicopter pilot, Bill McDermott, in Day of the Dead. Again, I understand why he’s such a hard drinker: it’s essentially the end of the world. Zombies have overrun the land, and McDermott and his cohorts are stuck in an underground bunker. I’d be drinking, too. But I feel it should be noted: McDermott is screamingly Irish. He even shouts “Jesus, Mary and Joseph!” a few times throughout the film.
Last, but certainly not least, we have Aunt Bedelia. Like Rev. Sayer, Aunt Bedelia’s screen time in Creepshow is brief. But Viveca Lindfors’ portrayal of Bedelia Grantham is so wonderfully nuanced and flawlessly delivered, that she’s able to steal the show in her short time onscreen. Bedelia’s guilt from murdering her father has left her frazzled and slugging Jim Beam by the bottle-full. She’s probably spilled more than you’ve drank.
She’s such a boozer, that even the comic version of Creepshow makes sure to note her love of spirit-imbibing.
Bedelia’s scene – one where she sits by her father’s grave, pounding the booze while cursing him in some odd, coastal accent – is brilliant and fun. But Aunt Bedelia ain’t the only one in Creepshow who likes to drink.
If you weren’t aware, Stephen King wrote the story for Creepshow, so naturally there’s a lot of drinking. King, who also stars in the movie as nunkhead Jordy Verrill, enjoys some Ripple, as well as a mean Screwdriver later on.
Then there’s Wilma. But you can call her Billy. Everyone else does!
And even Fritz Weaver as the inconsolable Dexter Stanley:
Even Leslie Nielsen has a drink to calm his nerves – every segment except the final one features boozehounds. Speaking of Creepshow drunkards, this list wouldn’t be complete without one of the most prolific drunks in horror history, Tom Atkins. In fact, he’s the M.V.P. of this list!
Tom Atkins is just the best, there’s no denying that. He was in all the great horror flicks of the 80s. And in every one of ’em, he’s drinkin’. Like in Creepshow, from the picture above.
Or like in Halloween III: Season of the Witch, where he’s constantly drinking – whether it be alone of with some homeless people:
Or in Maniac Cop, having a cold one with a co-worker after a long, hard day in the office:
Or in Night of the Creeps, where he plays a cop so haunted by his past that he’s suicidal. Not even booze – or even daydreams of delicious tropical drinks – can soothe his mental scars:
Hell, he even says “It’s Miller time!” right before shooting a zombie in the goddamn head. So legendary is his onscreen drinking, that upon Googling his name I discovered random pieces of fan art which detail this very fact:
In short, the man loves to drink.
And this is where I leave you, friends. May your day of drinking be a peaceful one, void of any slashers, zombies, werewolves, or alien lifeforms. There’s nothing worse than a spilled or unfinished drink. Have a safe and bloody holiday, but don’t forget to drink a few extra in honor of the entrants on this list. It’s Miller time!