Joe Bob Broke Shudder, but Not Our Hearts

If we’re honest with ourselves, we’ve all suffered through dry spells. Droughts of the romantic variety, which led to withdrawals and yearning, and eventually to copious amounts of K-Y, and inevitably, blister cream. We’ve all been there. Then one night everything falls into place and you hop back on that horse affectionately known as tonsil hockey and your brain can’t handle the overload. “This is amazing! Why did we wait this long?! Let’s never do that again!” as you engage in “the sign of the double-humped sperm whale.”

And make no mistake, that’s exactly what happened this past weekend. We all got some after a hiatus that bordered on abusive.

Yes, it was the one-of-a-kind charm of Joe Bob’s twang that had our hearts aflutter, but more than that, it was the communal experience knowing that we were all watching at the same time. The closest we come to that anymore (beyond live tweets) is AMC’s FearFest, but if we’re honest about that, it’s lost a bit of its luster what with those Walking Dead marathons that eat up large chunks of our beloved October tradition, leaving many of us unsatisfied.

Sure, we had the internet when MonsterVision played out on television screens every Saturday night across America and beyond back in the day, but social media wasn’t a thing quite yet, so we couldn’t really share those experiences in real time.

Then Shudder swooped in to cure the horror community of its collective blue balls.

And it was glorious.

JBBMy Twitter feed was littered with Joe Bob Briggs and The Last Drive-In. All anyone could talk about was how long they’d been up, how much they’d missed this, shared laughs and memories, complete with quoting Joe Bob’s latest “Did ya hear the one about…” Not gonna lie, I shared at least three of them, myself.

But it extended beyond social media. It was an event, and how many of those do we really have in the horror community? Yes, there are movie premieres and Twitter explodes whenever shows like American Horror Story air new episodes, but it’s rare for all of us to be all-in on one thing at exactly the same time.

We’d been counting the days since April, were sure to have our Joe Bob tees clean, fridge and pantry stocked with snacks, and our favorite koozies prepped for maximum consumption of brew. I giddily left work on Friday afternoon to pick up a mess of wings and a 12-pack of Grain Belt (only because Lone Star wasn’t available here) and sped to my buddy’s place with one eye on the clock. Two hours early. We pulled up Phantasm IV: Oblivion and added our own running track. “Fuckin’ Reggie, man. Poor bastard can never seal the deal.” My pal’s wife yelped her way through the Tall Man’s extraction of the silver sphere from Mike’s skull, and we all wore shit-eating grins during Reg-Man’s ice cream commando (kinda sorta) montage. And the hour hadn’t even struck 8 (I live in the Central time zone).

All the more smile-inducing because I knew full well, we weren’t the only ones pregaming.

Even the technical issues that prevented many of us from seeing The Last Drive-In from the beginning became a shared experience. Sure, some bitched and complained and harassed Shudder, but the vast majority knew that the Netflix of Horror would make it right and we’d get our Joe Bob fix. And again if we’re honest, it was a lot of fun to see GIFs of cats hammering away at the keys of a laptop or Andre the Giant in the ring trying his best to hold off a rabid crowd, or @richpatine’s tweet that pleaded “Joe Bob broke Shudder! Add 1 crashed app to the drive-in total please!”

We were all-in, and we were all-in together.

Scrolling through message after message of childhoods relived and resurfaced memories was magical.

TealEventually, though, the sun set on Saturday night. Pieces came to a close and Briggs offered his farewell. Tweets of excitement and laughter turned somber at the realization that this was the end, that we would never experience a night like this again, because no one can ever fill Joe Bob’s shoes. A fact we know far too well.

Yes, there were some tears, but more than anything, we were flooded with messages of gratitude and love. For as long as we’d all held onto our memories of MonsterVision from years before, came the knowledge that it paled when held to the neon glow of The Last Drive-In. This would be a night, a marathon, a borderline religious experience that we would never forget.

While the Drive-In Jedi’s send-off touched on the fact that his “goofy little show” was intended to offer laughter and an appreciation of forgotten films, he also mentioned that it was aimed at the “weirdos” and “misfits” who felt “left out” of the mainstream. Briggs went on to say that he hadn’t realized how many of us were out there until the past few years, which was ironic because Shudder discovered that the hard way when us drive-in junkies feenin’ for Joe Bob obliterated their server.

For all the stories and the rants and the laughs and the memories, that is what I’ll take away from The Last Drive-In – the sheer number of Joe Bob disciples who had suffered and waited. The fact that we broke Shudder is not a testament to the number of horror fiends out there, or that we just had to get one more dose of drive-in totals, but that Joe Bob Briggs means that goddamn much to us. It was a communal experience, yes, but that stemmed from the myriad personal connections that we have to someone who was either directly responsible for or augmented our love of horror cinema.

It wasn’t the kills or the gore that were difficult to watch, but rather those last moments as one-by-one, the lights turned out, and Joe Bob sat in his recliner, hat in hand, as the credits rolled, and a sad guitar took us to that final fade.

The last thing Mr. Briggs said was “I have a Dwight Yoakam hat.” Comforting in a way, because even if this truly was the end for Joe Bob, we won’t find ourselves a thousand miles from nowhere, we will carry Shudder’s magical romp in our hearts forever. Because the drive-in, and our love for Joe Bob, will never die.

Hat

 

“Victor Crowley” Has a Limited VHS Release That You Can Buy Right Now!

Nothing warms my nostalgic heart more than when a NEW movie becomes available to own in a classic VHS format. While some still claim VHS is dead, you might want to reconsider that statement as this type of marketing is gaining some momentum with nostalgic horror fans. Like me, for instance. I’m totally all over this guys and MUST have it in my horror VHS collection!

"Victor Crowley" Has a Limited VHS Release That You Can Buy Right Now!

Broke Horror Fan‘s Alex DiVincenzo has teamed up with Witter Entertainment to bring a retro feel to Victor Crowley, starring the one and only Kane Hodder. Released by Dark Sky Films and AireScope Pictures, the VHS is available in three different and equally exquisite varients of cover-art designed by Dark Horse Books artist Will Perkins. Personally approved by writer-director Adam Green, each VHS tape is of course fully functional and also a must-have collectible for any horror fan.

Per the press release:

There are three covers to choose from: the standard edition (limited to 300), bloody variant (limited to 150), and line art variant (limited to 50; hand-numbered and signed by the artist). Variant editions include a blood-splattered letter from Adam Green to the Hatchet Army members.
“Having lived through both the birth and the death of the ‘local video store’ era, my horror movie education happened on VHS,” comments Green. “Whether you purchase this copy to actually watch or just to display on a shelf as part of your Hatchet collection, I’m confident that you share my nostalgic love for this classic format.”
For optimal VHS viewing, the film has been cropped from its original aspect ratio to 4:3 full frame. It is only available in the US and Canada.
In 2007, over forty people were brutally torn to pieces in Louisiana’s Honey Island Swamp. Over the past decade, lone survivor Andrew’s (Parry Shen) claims that local legend Victor Crowley (Kane Hodder) was responsible for the horrific massacre have been met with great controversy. But when a twist of fate puts him back at the scene of the tragedy, Crowley is mistakenly resurrected and Andrew must face the bloodthirsty ghost from his past.
The cast of Victor Crowley includes Kane Hodder (Friday the 13th Parts VII-X), Parry Shen (Hatchet), Laura Ortiz (The Hills Have Eyes), Dave Sheridan (Scary Movie), Brian Quinn (Impractical Jokers), Felissa Rose (Sleepaway Camp), Chase Williamson (John Dies at the End), Tiffany Shepis (Sharknado 2: The Second One), and Jonah Ray (Mystery Science Theater 3000).
The premier installment in the BrokeHorrorFan.com Presents line is Adam Green’s Victor Crowley, the fourth installment in the Hatchet franchise. It’s on sale now at WitterEntertainment.com.

WTF Am I Watching: Black Devil Doll From Hell (1984)

Dearest Reader,

Welcome to the inaugural article of my WTF Am I Watching series. Throughout this extended (barring my sudden death at 27 years old like some sort of coked out rockstar) collection of articles, I’ll be viewing bizarre horror films that most people have never even heard of and describing them to you in great detail. This week’s flick is Black Devil Doll From Hell, a mid-eighties blaxploitation horror film from writer/director Chester Turner.

black devil doll from hell

Black Devil Doll From Hell begins with a nearly four-minute opening credit sequence in which several names appear against a fuzzy black background while a sampled beat of sinister funk (is that a genre?) plays on a repeated loop three or four times in full. In layman’s terms, it was long as fuck.

Once the credits finally wrap up, the viewer is met with a foreboding warning in regard to the terror they’re about to experience:

We all have our personal horror stories to tell. May yours never be as devastating as Miss Helen Black’s.”

If I may backtrack for a moment… I watched Black Devil Doll From Hell on Shudder, and since I neglected to read the plot information, I had no idea exactly what I was getting myself into. Foolishly, I expected something more along the lines of Child’s Play, but, um, that’s not exactly the sort of devastation Helen Black would be faced with.

This was Turner’s directorial debut, and it shows from the very moment we see something other than words on the screen. I didn’t do my research on the particular subject, but the film appears to be shot on a standard 80’s home video recorder. The picture looks like something you’d find on a VHS tape in the dusty cabinet under your grandparent’s bulky box television. The opening scene is set in a church, and you’d be hard-pressed to believe that any of the characters are played by real actors. I 100% think that Turner filmed an actual church congregation, save for Shirley L. Jones, the lead actress, with a home video recorder, and turned it into the first scene of a movie. Some of the pew-sitting church members even glance directly into the camera! It’s quite charming.

What we learn from this opening church scene and the walk home that follows, however, is that Helen Black is as devout as Christians come. She follows the ten commandments to the letter, tries to bring sinners to the lord, and shuns any negative influence. She’s a virgin, and as she confesses to a friend over the phone, she intends to remain that way until she is married. At the time it was spoken, I really thought the bit about her virginity was just a throwaway line. I had no idea that the entire plot of this insane film was hinging on her sex life.

Not long after convincing her phone friend to attend church with her next Sunday, Ms. Helen Black visits some sort of thrift shop, where she becomes instantly fascinated by the antique doll of a black man. She asks the owner of the store for a price, and the owner is surprisingly straight-up with her about the doll’s supernatural abilities. In a bit of terribly acted exposition, the owner explains that the doll possesses the power to grant the deepest desires of the heart, and that every time someone purchases it, the doll eventually finds its way back to her shop.

Ms. Black laughs, sets the doll down, and begins to walk away while shaking her head at the silly story she’d just been told. However, when she reaches the doorway, she decides to buy the doll regardless of its supernatural power because either (A) she really doesn’t believe fables other than the bible, or (B) she DOES believe the story, and since she’s not the virgin Mary, God isn’t providing the D that her heart most desires.

black devil doll from hell

That’s right, it’s quickly revealed after she purchases the doll that, despite what she’s preached throughout the thirty minutes of the movie so far, what she wants more than anything in the world is to get laid. Ms. Black keeps her innocent charade up while speaking with the doll upon returning home. She sets the doll on the toilet, begins to undress for a shower, and declares that the doll’s eyes are the only ones who will see her naked until she’s married.

While Helen bathes, the doll opens its eyes and looks around the bathroom, observing that his new owner is in the shower. He exhales an unexplained white mist, causing the shower curtain to slowly open by itself. Under the doll’s influence, Ms. Black experiences visions of herself and the doll having dirty, nipple-lickin’ sex, and she begins to touch herself without realizing exactly what she’s doing. When she eventually catches herself, she laments the dirty thoughts and pulls the shower curtain closed without so much as a thought as to why it opened by itself. Because that happens.

That night, Helen wakes from disturbing sex dreams to find the doll watching her. She removes the doll from the room, but it’s watching her yet again when she awakens the following morning. Inexplicably confused by the doll seeming to possess a supernatural power in which she’d already been warned about, Ms. Black ties the doll up inside of a closeted box before leaving the house for a few hours. To her surprise, the doll is still tied up when she returns home, so she decides to shower in peace.

As I mentioned before, I really expected Black Devil Doll From Hell to be something similar to Child’s Play. I was fully prepared to see a doll cussing, killing, and placing its soul in the bodies of small white children. What I didn’t plan on, however, was for this ridiculously cheap-looking puppet to attack Helen Black, knock her unconscious long enough to tie her to a bed, and rape her against her will while calling her “bitch” about a hundred times and degrading her very existence.

Also unplanned was the fact that Black Devil Doll From Hell becomes what is essentially softcore pornography. The doll has a tongue, and it uses it in more ways than one. Most unexpected, though, is that Ms. Black not only enjoyed her sexual experience, but complimented the doll’s sexual prowess and begged it not to stop. Talk about good girls gone wild.

black devil doll from hell

After the moderately graphic seven minutes of doll on human sex (!!!), the doll vanishes, having fulfilled Helen’s deepest desire. Throughout the rest of the film, though, she grows increasingly lustful, but the missing doll has the only wood she craves. It’s wild, y’all.

Black Devil Doll From Hell is the type of horror movie that’s so bad, you’ll never be able to unsee it. Every aspect of the film is horribly executed, from the direction, editing and performances, to the in-your-face misogyny. I can’t at all recommend it, but I hope like hell that you watch it anyway.