Stu Segall
Cast
John Goff - Det. Mike Leary
Bruce Kimball - Det. John Koch
Robert E. Pearson - Austin Johnson
Douglas Gudbye - Germy
Norman Sheridan - Orville Ingleson
I'm back in deep schlock territory with the 1976 B-slasher flick "Drive-In Massacre."
This movie was made in, and is intended for, the era of drive-in movies. That's clear not just from the title. This was before drive-ins became seemingly antiquated Americana pieces that you might still find in random towns few and far between for mostly nostalgic purposes.
I've always wanted to watch a movie at a drive-in. I have yet to experience what that's like.
This movie tries relatively hard to turn the experience of watching a movie in your car into a potential life or death situation. Of course, at drive-ins, there's more going on than eating junk food and watching movies like "Drive-in Massacre."
The movie starts with a title card indicating that on "August 10th, at a rural California drive-in, the horror began."
I've always wanted to watch a movie at a drive-in. I have yet to experience what that's like.
This movie tries relatively hard to turn the experience of watching a movie in your car into a potential life or death situation. Of course, at drive-ins, there's more going on than eating junk food and watching movies like "Drive-in Massacre."
The movie starts with a title card indicating that on "August 10th, at a rural California drive-in, the horror began."
We then see a young attractive couple sitting in their car as couples at drive-ins generally do.
The horror wastes no time as the story starts off. Just as they're getting warm and cozy, the dude decides he actually wants to listen to the movie. He struggles (of course) reaching out the car window to grab the speaker.
An unseen killer comes out of nowhere and slices the guy's head off with a single swipe of a sword. The girl also "gets it" through her neck.
An unseen killer comes out of nowhere and slices the guy's head off with a single swipe of a sword. The girl also "gets it" through her neck.
Detectives Mike Leary (John F. Goff) and John Koch (Bruce Kimball) investigate the murders. One of their fellow investigators advises them to speak with the theater's manager, Austin Johnson (Robert E. Pearson).
"I talked to the manager of the drive in," this other officer says. "His name is Austin Johnson, and you're really gonna like him. He's what you'd call your perfect asshole." There's really no clearer way to describe Johnson.When they go to question Johnson, he's more upset that the theater owner disappeared and left him the undesirable task of running the place than he is over the fact two people were brutally murdered the night before.
"So, a couple horny kids got themselves chopped up by some kook! So, what?" Johnson says.
They also speak with the theater's custodian, Germy (Douglas Gudbye), who's much more helpful than Johnson. He tells the cops that a guy comes in every night to peep on the couples making out in their cars. They instruct him to write his license plate down next time he sees him at the drive-in.
Johnson, by the way, treats Germy terribly and refers to him as a "miserable piece of vomit."
During the next night's show, the killer murders two other young lovers while they're...*ahem...making memories during the movie.
This time, the killer leaves his sword behind.
Previously, Germy told investigators the missing owner has a collection of swords. So, they bring Germy to the station to see if he can identify it as part of the owners private collection. Unfortunately, it's not. But Germy gives police the peeping tom's license plate number.
It belongs to a loner named Orville who admits upon questioning why he goes to the drive-in each night.
They also speak with the theater's custodian, Germy (Douglas Gudbye), who's much more helpful than Johnson. He tells the cops that a guy comes in every night to peep on the couples making out in their cars. They instruct him to write his license plate down next time he sees him at the drive-in.
Johnson, by the way, treats Germy terribly and refers to him as a "miserable piece of vomit."
During the next night's show, the killer murders two other young lovers while they're...*ahem...making memories during the movie.
This time, the killer leaves his sword behind.
Previously, Germy told investigators the missing owner has a collection of swords. So, they bring Germy to the station to see if he can identify it as part of the owners private collection. Unfortunately, it's not. But Germy gives police the peeping tom's license plate number.
It belongs to a loner named Orville who admits upon questioning why he goes to the drive-in each night.
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| Robert E. Pearson (Center) playing "the perfect asshole" in "Drive-In Massacre." |
During the investigation, police search Orville's car where they find clothing stained with blood.
He tries to escape on foot, but they catch up and place him under arrest.
But they have to let him go soon after because Orville insists the blood is from a dog he accidentally ran over with his car. The police confirm this claim with an analysis of the blood.
Orville insists his innocence, and also promises never to go back to the drive-in.
The next night, Leary and Koch are at the drive-in disguised as a couple.
They see Orville at the drive-in, despite his promise to never return.
During the movie, a young guy tries to make out with the girl he's with. However, she's more interested in actually watching the movie. Frustrated, he storms off for a bit while she stays in the car.
When he returns, he finds his girlfriend without her head.
Right away, the investigators think Orville is the killer. But when they approach his car, he's throat is slit.
They were three cars away from the killings. And they were supposed to be looking out. How they completely missed everything happening is simply thanks to lousy story execution.
The investigators take Austin and Germy in for more questioning.
He tries to escape on foot, but they catch up and place him under arrest.
But they have to let him go soon after because Orville insists the blood is from a dog he accidentally ran over with his car. The police confirm this claim with an analysis of the blood.
Orville insists his innocence, and also promises never to go back to the drive-in.
The next night, Leary and Koch are at the drive-in disguised as a couple.
They see Orville at the drive-in, despite his promise to never return.
During the movie, a young guy tries to make out with the girl he's with. However, she's more interested in actually watching the movie. Frustrated, he storms off for a bit while she stays in the car.
When he returns, he finds his girlfriend without her head.
Right away, the investigators think Orville is the killer. But when they approach his car, he's throat is slit.
They were three cars away from the killings. And they were supposed to be looking out. How they completely missed everything happening is simply thanks to lousy story execution.
The investigators take Austin and Germy in for more questioning.
Austin is being his usual dick-headed self. Police want to close the theater down, but Austin refuses unless they obtain a court order. He then fires Germy.
The next night, police get a call about a lunatic with a machete who just killed two people, fled to a warehouse, and is holding a young girl hostage.
Leary and Koch chase this guy down, and think this is their drive-in killer. Spoiler - it's not their guy.
Later, Germy goes to collect his things at the theater and have a word with Austin.
The next night, police get a call about a lunatic with a machete who just killed two people, fled to a warehouse, and is holding a young girl hostage.
Leary and Koch chase this guy down, and think this is their drive-in killer. Spoiler - it's not their guy.
Later, Germy goes to collect his things at the theater and have a word with Austin.
The investigators see Germy walk into the projection booth. Then, a silhouette of Austin getting beheaded is visible on the movie screen.
The investigators rush in. What they find isn't what they expected. The movie ends abruptly with a disclaimer.
The overall film reminds me of a homemade movie made by rather knowledgeable student filmmakers for their final project. It would earn them a solid "B+" for sure. I'd have to take points off for moments of poor writing and one or two instances of bad direction. Still, I would commend them for the amount of effort that went into their production.
The horror element comes in strong in the opening, and then tapers off as the movie becomes a crime thriller rather than a slasher.
The investigators rush in. What they find isn't what they expected. The movie ends abruptly with a disclaimer.
The overall film reminds me of a homemade movie made by rather knowledgeable student filmmakers for their final project. It would earn them a solid "B+" for sure. I'd have to take points off for moments of poor writing and one or two instances of bad direction. Still, I would commend them for the amount of effort that went into their production.
The horror element comes in strong in the opening, and then tapers off as the movie becomes a crime thriller rather than a slasher.
The killer using a sword as his weapon makes the scenario seem that much more maniacal and insane.
There's little happening after the gore in the beginning, except for investigating on top of investigating.
The story seems to remember at times that it's supposed to be a slasher horror film, and tries to live up to slasher movie expectations with a horror scene here and there.
The entire scene with Leary and Koch chasing the killer in the warehouse with the young hostage is one of the most awkward scenes in a B-film I've seen.
The girl escapes his grasp, and never says a thing other than pleading for him not to kill her.
When the investigators arrive, there's a cat and mouse chase through the warehouse before they finally shoot him.
The girl runs into frame, with hardly any emotion.
"Did you have to kill him? He's my father," she says nonchalantly.
There's little happening after the gore in the beginning, except for investigating on top of investigating.
The story seems to remember at times that it's supposed to be a slasher horror film, and tries to live up to slasher movie expectations with a horror scene here and there.
The entire scene with Leary and Koch chasing the killer in the warehouse with the young hostage is one of the most awkward scenes in a B-film I've seen.
When the investigators arrive, there's a cat and mouse chase through the warehouse before they finally shoot him.
The girl runs into frame, with hardly any emotion.
"Did you have to kill him? He's my father," she says nonchalantly.
I wonder why she couldn't have run out or shouted "Please don't shoot him. He's my dad."
The entire scene is awkward and terribly executed. I understand what the writers are trying to do with it. They're trying to set up a false conclusion to bolster up the audience's sense of dread. It's hilarious - unintentionally, no doubt.
The trepidatious soundtrack reminds me of something you'd hear on a video game from an Atari, or whatever video game console people played in 1976.
The ending is a cheap attempt to give the audience a lasting sense of uneasiness after the credits roll.
When the investigators break into the projection booth, they find the mutilated bodies of Johnson and Germy.
Rather than show the audience who the killer is, a voice booms over the speakers at the theater.
"Ladies and gentlemen, this is the manager. Do not panic. There is a murderer loose in the theater. I repeat, do not panic. The police are on the way."The entire scene is awkward and terribly executed. I understand what the writers are trying to do with it. They're trying to set up a false conclusion to bolster up the audience's sense of dread. It's hilarious - unintentionally, no doubt.
The trepidatious soundtrack reminds me of something you'd hear on a video game from an Atari, or whatever video game console people played in 1976.
The ending is a cheap attempt to give the audience a lasting sense of uneasiness after the credits roll.
When the investigators break into the projection booth, they find the mutilated bodies of Johnson and Germy.
Rather than show the audience who the killer is, a voice booms over the speakers at the theater.
The movie then ends with a disclaimer on another title card.
"The killer could strike again. Anywhere...Anytime...Who will be next?"
The beginning is enough to pull audiences in. But once they're in, it's like being tricked into listening to an insurance seminar or a time share sales pitch. Disappointing! There's something to build up to, but we're left with no satisfying conclusion.
The beginning is enough to pull audiences in. But once they're in, it's like being tricked into listening to an insurance seminar or a time share sales pitch. Disappointing! There's something to build up to, but we're left with no satisfying conclusion.
"Drive-In Massacre" wants audiences who probably first saw this movie at a drive-in to keep that uncomfortable "what if" feeling in the back of their minds as they drive back home.
I admit I had a little fun watching "Drive-In Massacre" primarily because of its B-Horror cult status, and the nostalgia of it all.
The highlight of this movie is its writer, George Buck Flower. Flower is best known as "the bum" in "Back to the Future" and "Back to the Future II."
He also stars in other well known films such as "They Live", "Escape from New York" and "Pumpkinhead" to name a few titles. I didn't realize it at the time, but he plays the maniac in the warehouse in this movie. Crazy drunk pedestrian!
The highlight of this movie is its writer, George Buck Flower. Flower is best known as "the bum" in "Back to the Future" and "Back to the Future II."
He also stars in other well known films such as "They Live", "Escape from New York" and "Pumpkinhead" to name a few titles. I didn't realize it at the time, but he plays the maniac in the warehouse in this movie. Crazy drunk pedestrian!
Though the movie starts off strong as a horror picture, if fizzles out to an underwhelming, haphazard story. But oddly enough, this one is kind of growing on me, all things considered.
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