Category Archives: Editorials

Did You Guys Here the One About: Joe Bob’s Best Jokes from ‘The Last Drive-In’

We’re all sad that the blissful days of October have once again come to an end, but that doesn’t mean we can’t find something to smile about.

HALLOWEEN (2018) is still ripping it up in theatres everywhere, SUSPIRIA (2018) opens tonight, and we’re not allowed to forget that Joe Bob Briggs returns to Shudder with the Dinners of Death Thanksgiving marathon on November 22, “because there are two things in life you should always binge on, horror flicks and Wild Turkey.”

See? Plenty to be giddy about.

We don’t need to remind any of you that no one spins a yarn quite like the drive-in Jedi, and with that in mind, it’s time to revisit some of Briggs’ best jokes from July’s The Last Drive-In.

Get ready to laugh. And when you inevitably share one or five of these with friends or co-workers later today, don’t thank us, thank Joe Bob.

TOLD AT THE CONCLUSION OF BLOOD FEAST

“So did I tell you guys the one about the history professor and the psychology professor at the nudist camp? The history professor and the psychology professor are sittin’ on a sun deck at a nudist resort, and the history professor turns to the psychology professor and he says ‘Have you read Marx?’ And the psychology professor says ‘Yeah, I think it’s from the wicker chairs.’”

THE PROWLER

“That actually reminds me of the one about the man who comes home from work and he’s greeted by his wife, and she’s dressed in spiked high heels and lingerie. And she says ‘Tie me up, sweetie. You can do anything you want.’ And so he ties her up and goes golfin’.”

Crew

SORORITY BABES IN THE SLIMEBALL BOWL-O-RAMA“evidence that in the ‘80s you could basically write a script on Tuesday, film it on Wednesday, and have it in the video store by Thursday.”

“Alright, man goes into a bar (laughs), man goes into a bar and he orders a drink. The bartender’s a robot, so this robot serves this perfectly prepared cocktail and then the robot says ‘What’s your IQ?’ and the man says ‘150.’ And so the robot proceeds to make a conversation about global warming and quantum physics and nanotechnology and string theory and Jungian psychoanalysis. And the customer is very impressed, but he decides, ‘Ya know, I’m gonna test that robot.’

So he walks out of the bar, turns around, comes back in for another drink. Robot serves a perfect cocktail and then he says ‘What’s your IQ?’ This time the man says ‘About 100,’ so immediately the robot starts talkin’ about football, NASCAR, baseball, supermodels, fast food, guns, and enormous hooters. Now the guy’s really impressed, so he leaves the bar again and he turns around and he decides to test the robot one more time.

So he goes back in, gets the perfect cocktail and the robot says ‘What’s your IQ?’ ‘Uh, it’s only about 50, I think.’ Robot says ‘So are you gonna vote for Trump again?’”

DEMONS

“I was watchin’ The Bachelor the other night, and it reminded me of this guy in Arkansas who was wantin’ to get married but he was havin’ trouble choosin’ among three likely candidates to marry.

So he decides to give each woman a present of $5,000 and watch what they do with the money. So the first woman does a total makeover, she goes to a beauty spa, she gets her hair done, new makeup, buys several outfits, joins a spa, gets toned, tells him she’s done all this to be more attractive for him because she loves him so much, and he’s fairly impressed by that.

Second woman, she goes shoppin’ to buy him a bunch of gifts. She gets him a new set of golf clubs, walk-in humidor for his cigars, some expensive clothes, and she presents all this stuff to him and she says she spent all the money on him because she loves him so much, and he’s fairly impressed by that.

The third one invests the money in the stock market, she earns several times that $5,000 back. She gives him back his $5,000, she re-invests the rest in a joint account, and then she tells him she wants to save for their future because she loves him so much, and the man is very impressed by that.

So he thought for a long time about what each woman had done with the money, and then he married the one with the biggest boobs.”

JBB Bowling

TOURIST TRAP

“Did I ever tell you guys the one about the Irish girl who runs away from home? I feel like we need an Irish joke in honor of Chuck Connors, this is Chuck Connors’ night. So, this Irish guy’s daughter disappears, she doesn’t come home for five years. She finally comes home and her dad cusses her out, ‘Where you been all this time? Why didn’t you write? What were you doin’? You know what you put your mum through?’ They call it ‘mum’ in Ireland.

Well, the girl’s cryin’, she says ‘Dad, I’m so sorry. I became…a prostitute.’ And the dad says ‘What?! Go back where you came from. I don’t ever wanna see you again.’ And the girl says ‘Okay dad, I will, but I’m gonna leave all this stuff I brought for you. I have some fur coats for mom and I have a deed to this mansion I bought, and I have a savings account for five million euros, and I also got a gold Rolex for my little brother. And for you there’s a limited edition Mercedes outside, and if you want it, there’s a yacht, I parked it on the Riviera.’

And so her dad thinks for a minute and he says ‘Tell me again how you got this money,’ and the girl says ‘I became a prostitute.’ And dad says ‘Oh Jesus, you scared me for a minute. I thought you said Protestant. Come give you old man a hug!’”

BASKET CASE a film presentation that remembered Gerald the security guard, who was released on weekends to work (at the Highway 183 Drive-In in Irving, Texas), and would always have words of drive-in wisdom like, ‘Never walk up on a baby blue El Camino with two men inside unless you wanna see things described in the Old Testament.’”

“Girl goes into her doctor’s office for a check-up, as she takes off her blouse the doctor notices a big red ‘H’ on her chest. He says ‘How’d you get that mark on your chest?’ She says ‘Oh, my boyfriend went to Harvard and he’s so proud of it that he never takes off his Harvard sweatshirt even when we make love, so I guess it leaves an impression.’

Couple days later, another girl comes in for a check-up, takes off her blouse, there’s a big ‘Y’ on her chest. ‘How’d you get that mark on your chest,’ asks the doctor. ‘Oh, my boyfriend went to Yale and he’s so proud of it he never takes off his Yale sweatshirt, even when we make love.’

Couple days later, another girl comes in for a check-up, as she takes off her blouse the doctor notices a big green ‘M’ on her chest. So the doctor says ‘You have a boyfriend who went to Michigan?’ and the girl says ‘No, but I have a girlfriend at Wisconsin, why do you ask?’”

THE LEGEND OF BOGGY CREEK

“Did I tell you the one about the husband and wife don’t trust each other? So the woman doesn’t come home one night and her husband wants to know why, and she says well, she slept over at a girlfriend’s house. So, the man calls his wife’s ten best friends, none of ‘em know anything about it. So he cuts her off, he calls her a liar, he makes her suffer for days.

Little while later, the husband doesn’t come home one night, so in the morning the wife wants to know why not. He tells her, ‘Well, I slept over at a buddy’s house.’ So, the woman calls her husband’s ten best friends. Eight of ‘em confirmed that he slept over, two of ‘em claimed he’s still there.”

Maple syrup

Book Review: “AD NAUSEAM” Is The Holy Grail of 80’s Horror Newsprints

Once upon a time before the wild world of the interwebs, you had to turn to that black and white rolled up bunch of papers that magically appears in your driveway every morning to observe the latest movie premieres and listing showtimes. Plainly speaking, living in an advanced age of technology has spoiled us from giving in that extra effort as any and (almost) all information is literally at our fingertips. And with the entrance of Google, the exit of what is now considered a lost art occurred.

As with horror-based VHS art, newsprint graphics for film announcements became an entity in its own with not only promoting said picture but influencing audiences into seeing the movie with the alluring black and grey art attached to the information. Former Fangoria Editor-in-Chief and presently, one of Rue Morgue’s head-honchos’ Michael Gingold has taken this long-lost pastime and breathed new life into the forgotten advertisements with his new book, “AD NAUSEAM: NEWSPRINT NIGHTMARES FROM THE 1980s”.

I recently had the opportunity to gleefully gawk at the 245-page book and holy Nicolas National Treasure Cage- it is as glorious as the retro sunbeams beaming off a neon synthwave.

Book Review: "AD NAUSEAM" Is The Holy Grail of 80's Horror Newsprints

With all retro advertisements seen within, some extremely rare or never-before-seen all from Gingold’s personal collection, compiled into yearly chapters that range from 1980-1989, this truly is a must-have for not only lovers of 80’s horror, but ALL genre enthusiasts. From a historical standpoint, this nostalgic book certainly serves as an opened time capsule from a time where horror was both beloved and misunderstood by the general public- (If you’re questioning that last bit, check out this little diddy from 20/20). So whether you’re reliving that era or discovering it for the first time, the feeling you get as you flip the pages through these newsprint nightmares can easily be compared to watching your very first horror film. And that my friends, is such a rare experience to come across in the modern days of the interwebs.

Book Review: "AD NAUSEAM" Is The Holy Grail of 80's Horror Newsprints

In addition to the glorious spread of page after page of retro goodness, snippets of reviews are matched alongside select films. It goes without saying this was a time where Rotten Tomatoes and online reviews were years ahead in the future. That being said, in a time where horror didn’t harbor the respect it has accumulated from critics over the years, you’ll find a few of these snippets might just trigger your horror senses into a flight or fight reaction. As explained in the book, these reviews were posted at the time of release, and I’m just taking a shot in the dark here, from a few snooty film advisers.

However, I can overlook those very real reviews with an extensive introduction from Gingold explaining what had compelled him to save all these clippings to begin with. If you hadn’t already taken the hint or looked around at my website here, I kind of really love reminiscing about my journey in and around the horror genre and the influences it had on me as a child; but hearing it from the mouth of someone who is hugely respected here, and around the horror writing community is pure gold. And I highly urge everyone in this business that picks up this gem to resist the temptation and read what Gingold has to say before going balls deep into the ads. VERY IMPORTANT HERE.

Towards the end of the retro 80’s horror ad road, you’ll find an intriguing closing entitled “The Art of the Sell”- which includes conversations with Terry Levine (President of Aquarius Releasing), and longtime partner and artist Wayne S. Weil who dive into the drive of these ads and putting “asses in theater seats” via these said newsprints.

As you may have gathered already, this book is a definite must-have centerpiece for your house of macabre’s coffee table for any collector of physical horror media. It is both highly stimulating for your retro horror senses, and a wonderful journey of film history through the decade where horror shined like no other era. The book drops tomorrow on Amazon Prime and you can pre-order it here at a discounted price, or directly from 1984 Publishing to obtain a signed copy.

Upcoming Book "Ad Nauseam" Highlights Newsprint Nightmares from the 1980s

Sight Unseen — The Lasting Images of Henry: Portrait of a Serial Killer

Tobe Hooper once said “I don’t believe in using too much graphic violence, although I’ve done it. It’s better to be suggestive and to allow the viewer to fill in the blanks with their minds.” The Texas Chainsaw Massacre (1974) is not one of the finest horror experiences ever put to film because of on-screen slaughter, but rather the suggestion of bloodshed. The long-lasting effect of Hooper’s direction was borne from the simple presentation of a scenario, the resulting (and very personal) nightmares were conjured entirely within the headspace of whomever laid eyes on it.

The concept isn’t exclusive to TCM, but certainly applies to John McNaughton’s tense tale of a week in the life of a sociopath, 1986’s Henry: Portrait of a Serial Killer. Though it made its way around film festivals for years, the Motion Picture Association of America’s inability, or unwillingness to give it a straight R-rating delayed its limited theatrical release for 4 years.

As legendary film critic Roger Ebert noted, however, “This film deserves to be seen,” and over the course of more than three decades, it has become essential viewing for horror aficionados everywhere. And not for overt violence, although like Hooper, it had its fair share, but rather for what wasn’t seen.

Make no mistake, the reasons for suggestion in this case were partially due to budgetary and time constraints. However, McNaughton wanted to truly explore the inner workings of Henry’s (Michael Rooker) mind, as well as his relationship with Otis (Tom Towles) and Becky (Tracy Arnold), which meant that on-screen violence would have to be dispersed carefully, but to offer a true glimpse at the danger housed within the protagonist, the film would need to be littered with other misdeeds.

And that is where the power of suggestion entered the equation, in part through the utilization of brilliant music cues strewn throughout by film editor Elena Maganini. Portrait of a Serial Killer’s main theme is composed of the simplistic yet powerful piano chords of Ken Hale, Steven A. Jones and Robert McNaugton that matched Rooker’s icy glare, begging the question, what truly resided beneath the surface.

The horrors left in Henry’s wake were revealed through a series of pan shots, offering a peek behind a veneer that should never come into focus. Again, the issues of budget and time factored into McNaughton’s decision-making, yes, but ultimately the road followed was that which would make the greatest impact, and that avenue was paved by sound editor Cory Coken and post-production sound mixer Ric Coken. The audible screams of victims blended with Henry’s angry commands to “shup up!” underneath ghastly visuals painted a picture that turned blood cold, as viewers were burdened with whatever terror played before their mind’s eye thanks to the macabre melody dancing through their heads.

All which set up McNaughton’s final stroke of genius.

BeckyAfter Henry returned to the apartment to find Otis raping his sister, and the ensuing scuffle that resulted in Otis’ death, Henry’s instinct took over and he dismembered his friend’s body in the bathtub before hitting the road with Becky.

In a wink to the audience, another music cue foretold Becky’s fate, as “Loving you was my mistake” sprang from the radio before the pair reached their roadside motel.

The following morning, pulling to the side of a desolate road in the middle of nowhere, Henry exited his vehicle and waited for cars to pass before he opened the trunk. When it had reached its apex, it was accompanied with a single, ominous piano chord. To that point, there may have been hope that Becky had already been in the car when the vehicle pulled away from the motel, but in that moment, the audience knew.

Henry waited for another car to pass, then glanced over his shoulder to ensure no others were coming, lifted Becky’s blue suitcase, now her tomb, and laid it at the top of a ditch beside his car. Once again, the terrified shrieks of one of Henry’s victims echoed as the luggage connected with the earth below. McNaughton had cinematographer Charlie Lieberman hold the shot, and slowly zoom to the blood-smeared bag, a grotesque exclamation point on a film that has always carried an unsettling tinge of documentary.

As Henry pulled away and the camera closed in, all that was left were the curdling chords of Henry’s theme, and the remains of the one person it appeared Henry may have had the slightest sentiment for. Uncaptured and unpunished, the sounds perfectly encapsulated the unknown of where Henry, or those like him—who unquestionably exist—would head next.

The visceral images of McNaughton’s masterpiece proved too much for many audience members to endure when it first reared its head at film festivals decades ago, and abandoned it to what Ebert described as “the purgatory between [an] R and X [rating].” The film was too powerful and too well done to be contained for long, but for the violence we witnessed, including the devastatingly difficult to digest home invasion segment, it was the intonations left unseen that made Portrait of a Serial Killer so indelible.

They were haunting in 1986, and haunting today.

Henry luggage