by Steve Habrat
One of the most memorable aspects of the drive-in movie theater is the intermission bumpers that played before or between double features of I Was a Teenage Frankenstein and The Blob. These whimsical little numbers would happily remind moviegoers about all of the delectable treats that waited for them behind the concession counter, and it gave warm warnings about how much time remained before the show got underway. The creative team behind all those dancing hot dogs, marching popcorn bags, and strutting popsicles was Filmack Studios—or Filmack Trailer Company, as it was known at the time—a family-owned that opened its doors in 1919 and remains in operation today. In the 1950s, Filmack sent out a catalogue to drive-in theater owners and operators, reassuring them that they were chock full of ideas that would keep cars parked under the stars, prevent moviegoers from driving off with speakers still attached to their car windows, and have the concession stand lines nice and long. In addition to providing the intermission entertainment, Filmack has also been responsible for giving many individuals their start in the entertainment business, including the king of animation, Walt Disney.
Today, many drive-ins will continue to show these charming little animations between mega-blockbusters like Transformers and The Avengers—offering small little slices of gentle nostalgia to the adults that can remember seeing them with their date back in the good ol’ days, while allowing a younger generation to catch a glimpse of a simpler time. If you’re local drive-in isn’t showing them, you can revisit them on YouTube, where large, fifteen-minute blocks play for your entertainment. If you’re a fan of classic exploitation, you can also find some of these bumpers nestled between trailers for such grindhouse classics as The Devil Within Her and Machine Gun McCain on the cult trailer series 42nd Street Forever. So, in honor of this Drive-in Summer, enjoy a few of these beloved animations. I bet you’ll start craving a hot dog, a soda, and even get the itch to head to the drive-in!
What were your favorite intermission cartoons? And remember, make sure to get out with the family and go to a drive-in theater near you. Make sure to share the experience on Instagram under the hashtag #driveinsummer!
And don’t forget to visit The Droid You’re Looking For for swell vintage drive-in photos!
Anti-Film School, The Droid You’re Looking For, Furious Cinema, and The Grindhouse Cinema Database Present…Drive-In Summer
Going to the movies should be an event. Whether you’re seeing a small independent feature or a big-budget Hollywood blockbuster, a trip to the movie theatre should be a larger-than-life adventure that transports you completely. Over the years, indoor chain movie theaters like Regal Cinemas and AMC have been the places to catch the latest Iron Man movie, but there is another spot that can be even more fun than elbowing your way through crowded rows of teenagers staring down at the iPhones. The drive-in movie theater is the ultimate cinematic adventure, and for years, it has been slipping from the American public’s memory. Audiences have seemed content to plunk down $13.00 a ticket for a 3D movie, and then forced to spend almost $40.oo more on throwaway concessions. Many family owned drive-ins offer more bang for your buck, provide a breezy family atmosphere, fill you with nostalgia, and practically scream summer right in your face.
Over the past several weeks, I’ve been taking a social media graduate course through Kennesaw State University. The class required us to create and execute a social media campaign. I choose to encourage readers to get out and support a local drive-in this summer, before the cold weather forces us all back into the crowded multiplexes. Over the next week, I will be partnering with John LaRue of The Droid You’re Looking For, Furious Cinema, and The Grindhouse Cinema Database to spread awareness about drive-in movie theaters, educate readers about their rich history, and attempt bring enthusiasm about these wonderful establishments. Feel free to seek any of us out on Facebook and Twitter, share stories about the drive-ins, share information about local drive-ins near you showing retro double features or throwing a nifty summer shindig. Also, share photos of your drive-in trip on Instagram, and make sure to label everything you post to social media with the hashtag #driveinsummer. With only 370 drive-in theaters remaining throughout the United States, lets get out there and show our support by catching a flick under the stars.
The Droid You’re Looking For has kicked things off by posting a map that allows you to find a drive-in theater near you. Make sure to visit and check it out. If you wish to get involved and do posts of your own on your blog, feel free. The more participation there is, the more business and awareness we can drive to these theaters. There is more to come! Enjoy the show!
-Theater Management (Steve)
by Steve Habrat
It’s been five long years since megastar Tom Cruise shouldered the weight of a massive summer blockbuster, leaving many filmgoers to wonder if the controversial action hero still had his box office mojo. In between 2010’s forgettable Knight and Day and last spring’s Oblivion, Cruise starred in two holiday blockbusters (2011’s Mission Impossible: Ghost Protocol and 2012’s Jack Reacher), and turned up in a bit part in 2012’s Rock of Ages, a messy summer musical that didn’t give Cruise top billing even though he stole the movie away from the teeny-bopper stars headliners and seasoned veterans. While off-screen antics and tabloid rumors have certainly soured Cruise’s reputation, the actor’s newest film answers the question of whether or not Cruise could still hold his own in a season that now belongs to Marvel superheroes and computerized Transformers. Behold Edge of Tomorrow, a nimble and clever sci-fi blockbuster that finds Cruise once again punching and shooting his way through an army of rampaging aliens. Based upon the graphic novel All You Need Is Kill by Hiroshi Sakurazaka, Edge of Tomorrow passes up the brooding tone that many summer blockbusters have been opting for over the years, and instead works with a bubbly, old-fashioned formula of comedy and thrills that leaves you stumbling out to the parking lot with an invigorating rush and proudly declaring to your buddies or your date that you’d gladly take that ride all over again.
Edge of Tomorrow begins by explaining that mankind is locked in a brutal war with aliens called Mimics, which arrived on Earth in a fiery asteroid several years earlier. With nearly all of Europe conquered by the Mimics, the United Defense Forces issues an exoskeleton called “Jackets” to each and every solider, which gives the humans a fighting chance against the savage enemy. Hope is also found in Rita Vrataski (played by Emily Blunt), a fierce warrior who led the humans to victory at the battle of Verdun. Confidence is kept high by UDF spokesman Major William Cage (played by Tom Cruise), who has been talking up Operation Downfall, a massive campaign that will launch thousands of soldiers into Europe to topple the Mimic menace. Much to his surprise, Cage is summoned by General Bringham (played by Brendan Gleeson), who informs Cage that he will be jumping into the fight and storming into Europe. Terrified, Cage attempts to resist the order, which leads to him being arrested by Military Police and forced to the front lines. Unable to work one of the “Jackets” and squeamish at the sight of blood, Cage stumbles his way into battle behind Master Sergeant Farell (played by Bill Paxton) and a slew of colorful soldiers. The UDF is stunned to learn that the Mimics were aware of the invasion and are waiting for the soldiers as they approach. In the thick of the battle, Cage manages to kill a Mimic, but just as he is about to die, he gets covered in alien blood, which gives him the ability to keep reliving the battle over and over again.
In the hands of director Doug Liman, Edge of Tomorrow delivers plenty of epic but not overly showy action sequences that are sure to dazzle sci-fi diehards. The scenes of “Jacket”-clad soldiers storming onto a bombed-out European beaches present themselves like a futuristic WWII, with drop ships decorated with sneering faces and pin-up girls spinning out of the sky in blazing balls of fire, and soldiers struggling to get their bearings as they stumble through sheets of sand and soot. It’s a gritty and unique combo that gives the opening stretch of Edge of Tomorrow a pulpy sting. While Liman knows how to throw you into the intensities of war, he certainly never allows the CGI mayhem to eclipse the film’s impressive characters or its welcome sense of humor. There are more than a few moments that are downright hilarious, from Cage sweating and panting as he attempts to hang with battle-tested soldiers that hoot and holler their way into the alien lines, to some amusing death scenes that barrel straight out of left field. Most of the humor emerges in the scenes between the “Full Metal Bitch” (Rita) and Cage, as she attempts to whip the fidgety Major into fighting shape. What’s even more impressive is the way that Liman lingers on the human interactions, allowing raw emotion to overpower some of the film’s best action sequences. You’re given plenty of time to care for these characters, and what’s even more exciting is that you take them with you past the end credits.
While Cruise’s personal life may have left many groaning, no one can deny that the man hasn’t continuously churned out memorable performances over the past few years. Edge of Tomorrow is no different, as Cruise gets kicks around with a smile stretching from ear to ear. He seems right at home in the skin of Cage, and it’s a nice switch-up when we learn that his character can’t even stand the sight of a paper cut. He’s undoubtedly spirited, and he continues to hone the comedic chops he’s been fiddling with since 2008’s Tropic Thunder. Cruise also finds plenty of chemistry with the beautiful Blunt, who brings her icy disposition to Rita, Cage’s fierce ally who understands just what is happening with Cage. Naturally, the two form a romance fit for a popcorn movie, but it’s welcome as it melts Rita’s frosty exterior to reveal a haunted interior. Another surprise is Bill Paxton, who has kept a low profile over the past several years. He emerges with a thick southern accent and a fast tongue, strutting his way through the role of Farell with such smug confidence that you’ll keep wondering just where the heck this guy has been all these years. And then there is Gleeson, who stands firm as General Bringham, a stone-faced general who refuses to allow Cage to weasel his way out of combat.
While Edge or Tomorrow brims with excitement, the film does wander off a bit into conventional territory. The epic climax—while fun—grows increasingly formulaic and predictable as it unfolds before our eyes, and the whole exoskeleton thing looses a bit of its cool factor as it trails in the wake of Neill Blomkamp’s blazing Elysium. Some of the background characters, specifically the ragtag unit that Cage is assigned to, are eccentric but also a bit cliché. As far as the aliens go, Liman and his team think up a parasitic enemy that is difficult to comprehend as it burrows deep into the sand and then attacks with a sudden fury that shakes you out of your seat. Liman never lets them stand still for very long in the frame, allowing the audience blood-curdling glimpses that make the aliens all the more terrifying. Overall, while the climax fizzles out, Edge of Tomorrow exceeds all expectations with surefire direction, an entertaining script, a playful sense of humor, gritty action, and sincere performances that keep the project grounded even as nasty extraterrestrials threaten to wipe out humanity. Yet what Edge of Tomorrow ultimately proves is that Cruise is still dependable as an all-American action hero. He’s still got it, folks, and it sure is nice to see him back in the thick of the summer movie season.
by Steve Habrat
Since its debut in 2000, the X-Men series has been a bit of a rocky superhero franchise. 2000’s X-Men was a likeable enough effort that emerged just a year before Sam Raimi’s Spider-Man ignited superhero fever at the box office. Three years later, X2: X-Men United would be hailed by both comic book fanboys and critics as one of the best superhero films ever made, but that praise would fizzle when they laid eyes on 2006’s X-Men: The Last Stand, which was a hollowed out finale that sent a wave of disappointment through X-Men nation. Things didn’t improve in 2009 with the release of X-Men Origins: Wolverine, a tacky solo outing for the franchise’s most popular character. Just when everyone thought all hope was lost, along came X-Men: First Class, a Cold War epic that thrilled moviegoers with a fresh cast and a clever script. Last year, the momentum created by X-Men: First Class slowed a bit with The Wolverine, a second solo outing that was marginally better than the Origins. So as you can see, X-Men fans always have a reason to be concerned whenever a new installment in the franchise is announced. As it turns out, X-Men: Days of Future Past is just as thrilling and exciting as X2: X-Men United and X-Men: First Class. With Bryan Singer (X-Men and X2: X-Men United) back in the director’s chair, this time-travelling adventure creates fireworks by smashing together the young talent of X-Men: First Class with the veteran cast of the original films.
X-Men: Days of Future Past picks up in post-apocalyptic 2023, with humans and mutants hunted and exterminated by hulking robots called Sentinels, which were originally designed to exclusively hunt and exterminate mutants. A small band of mutants including Professor X (played by Patrick Stewart), Magneto (played by Ian McKellen), Wolverine (played by Hugh Jackman), and Storm (played by Halle Berry) hatch a plan to use the time traveling abilities of young mutant Kitty Pryde (played by Ellen Page) to attempt to travel back to 1973 and prevent the creation of the Sentinels. The volunteer for this dangerous mission is Wolverine, who is tasked with stopping the shape-shifting Mystique (played by Jennifer Lawrence) from assassinating pint-sized scientist Bolivar Trask (played by Peter Dinklage), the creator behind the Sentinels. As the Sentinels bear down on the mutants in the future, Wolverine must mend the friendship between a young Professor X (played by James McAvoy) and a young Magneto (played by Michael Fassbender) so that they can join forces and stop Trask together. This proves extremely difficult as Magneto once again attempts to break off from the group and embark on his own villainous path.
What ultimately made X-Men: First Class such a standout was the way that director Matthew Vaughn cleverly inserted familiar X-Men characters into the nuclear drama of the Cold War. It was the creative breath of fresh air that the franchise was in dire need of. Returning director Singer took note of this and catapults audiences back to the early ‘70s, during the last days of the Vietnam War. While the gunmetal action is certainly smooth and zippy in the future (the opening battle is one for the ages), what makes X-Men; Days of Future Past such a delectable treat is the way Singer mirrors Vaughn and seamlessly weaves these characters into American history. Throughout the course of the film, we hop over to Vietnam to meet a few grotesque mutants that have been fighting in the jungles of Saigon, and take a trip to the center of the Pentagon where Magneto is being held for the death of JFK. We also get to meet a pre-Watergate Richard Nixon, who hunches over his desk in the Oval Office and gruffly agrees that Trask’s Sentinel program is essential after witnessing mutants savagely show off their powers in Paris during a negotiation between the Americans and Vietnamese. It’s true that the ‘70s material overshadows the futuristic stuff every step of the way (even the Sentinels look much cooler in the past), but the gloomy apocalyptic destruction that Singer shows off does leave viewers curious about this perpetually dark dystopian future. Maybe he will dive in further down the line?
By now you are well aware of what makes this X-Men film particularly special for comic books fans. Singer has recruited nearly every single actor or actress that has appeared in previous X-Men films, and boy, do they seem tickled to be back. While you could fill a book with the cast list, it would be criminal not mention some of the performances here. McAvoy once again reminds us that he is a silent talent in Hollywood, as it’s nearly impossible to take your eyes of his shaggy-haired hippie take on Professor X. Coming off his vile turn in 12 Years a Salve, Fassbender remains in villain mode as Magneto, a shaky ally in the quest to track down Mystique and stop her assassination attempt. Hugh Jackman’s enthusiasm for Wolverine remains in tact, seeming as cool and calm as ever while chomping on those cigars and waving around pre-metal claws. Jennifer Lawrence is all sexy confidence as Mystique, the deadly shape shifter who tirelessly fights for her fallen mutant brothers and sisters. Nicholas Hoult’s nebbish Beast still snarls and chomps with blue fury, and Evan Peters steals the entire movie as the speed demon Quicksilver. Every fan that made such a stink over the look of his character is going to instantly eat their complaints after they watch him dart playfully around the inside of the Pentagon. It’s the film’s best moment.
As far as veterans Ian McKellen and Patrick Stewart go, both seem to be floating on cloud nine to be back in their respective roles. Stewart’s Professor X continues to give the series the emotional charge that he brought to the original three films, and McKellen remains as unpredictable as the master of metal, Magneto. The small-but-mighty Peter Dinklage proves to be a formidable foe for the X-Men, always using his commanding voice to give him an intimidating authority. With eyes that scream exasperation, he warns Congress of the mutant threat, and he watches grainy newsreel footage of Mystique with cold intrigue, desperate to get his hands on her blood, brain tissue, and spinal cord fluid to convert his devastating Sentinels into killing machines that can adapt to any threat. The ever-welcome Ellen Page returns to big budget blockbusters as Kitty Pryde, the girl who possesses the power to make this entire mission possible. Though she is given limited screen time, she makes the most of what she has. This limited screen time carries over to multiple other mutants, including Halle Berry’s Storm, who is basically handed an extended cameo to conjure up a wicked lightning storm. Berry is just one of the many familiar faces that pop in to say hello. I won’t spoil any of cameos here, but believe me when I say fans will walk out beaming with delight.
Though X-Men: Days of Future Past arrives in theaters with a budget of $200 million, the film remains surprisingly modest for a good majority of the runtime. The scenes set in 2023 are breathtaking and the fight scenes are buffed up with the expected CGI. The action set in the ‘70s seems plausible and practical, only really getting flashy during the final battle outside the White House. Much like the confrontation at the end of X-Men: First Class, the confrontation between good and evil has a slow burn approach. There is quite a bit of dramatic conversations and pleas, which proves to be just as thrilling as the fistfights and explosions. Just to add an extra layer of excitement, Fassbender’s Magneto shakes RFK stadium from its foundation and drops it over the White House, enclosing all the characters inside for colossal showdown. Another moment you’ll be talking about on the way home is Quicksilver’s giddy Pentagon infiltration, which wields a wicked sense of humor as he dodges bullets and dares to dip his finger in a pot of soup. Overall, X-Men: Days of Future Past is teeming with delights—it’s got the dramatic pull that the fans demand, it’s got the rollicking action that gets your gets your heart racing, and it’s fueled by stunning A-list cast that plays off of each other beautifully. While other challengers lay in waiting, X-Men: Days of Future Past is positioned to be the best superhero film of the summer.
by Steve Habrat
The same year that Toho Co.’s Godzilla stomped all over Japanese cinemas, American drive-ins were attacked by the giant irradiated ants of Them! Released in the summer of 1954, Them! sounds like an absolutely absurd sci-fi chiller that would have been right at home on the pages of an EC Comic book . Who would be scared by a bunch of giant ants mutated by invisible clouds of drifting atomic radiation? It turns out that many drive-in audience members were shaken up by Them!, and many critics and genre aficionados have taken notice of the affection audiences have for this creature feature. Regarded as the first “giant bug” movie, Them! is another product of the Atomic Age—a well-spoken B-movie that shivers and shakes at atomic bombs, mushroom clouds, and drifting radiation that was quietly wrecking havoc on nature. Directed by Gordon Douglas, Them! takes its subject very seriously, and the film slowly gains intensity through a disciplined pace, chilling set pieces that never fail to impress, rock-solid performances from a hugely talented cast, and a slew of beasts that are sure to scare the pants off of first time viewers.
Them! begins in the New Mexico desert, with two police officers, Ben (played by James Whitmore) and Ed (played by Chris Drake), stumbling upon a little girl wandering around in a state of shock. As Ben and Ed try to find the little girl’s home, they discover a wrecked trailer and a destroyed general store. While exploring the general store, Ed is suddenly attacked and killed by a towering unknown assailant. Ed’s death proves even more suspicious after the coroner discovers large amounts of formic acid in his system. With more disappearances being reported and a strange animal print found in the sand, the FBI dispatches agent Robert Graham (played by James Arness), renowned scientist Dr. Harold Medford (played by Edmund Gwenn), and his lovely daughter, Dr. Pat Medford (played by Joan Weldon), to investigate. While the trio explores the windy plains of the desert, they begin hearing eerie high-pitched calls from an unknown location. Their investigation really takes a turn when they come face-to-face with a giant ant that proceeds to attack Pat. The military soon tracks down the ants’ nest and launches an attack to wipe out whatever is inside, but Harold discovers evidence that suggests two queen ants have escaped the attack. Desperate to keep the giant ants a secret and away from heavily populated areas, the military races to track down and destroy what is left of the ants. However, the military’s worst fears are slowly confirmed as reports of ant sightings start popping up around San Francisco.
Like all great creature features, Them! isn’t in any particular hurry to show off its mutated monsters. It starts off slow, allowing the unsettling isolation of the New Mexico desert to set in before Douglas starts exploring the mysterious ruins of a trailer and a general store. As winds howl and the police scratch their scalps in confusion, that high-pitched screeching noise kicks in and pushes the suspense to the brink. About a half-hour in, Douglas sends his team in to get to the bottom of what occurred out in the desert, and it is here that he allows us our first glimpse of one those mutated ants. Of course this first glimpse is only a tease, the beast slowly and silently working it’s way over a hill before emitting its grim song and charging at its lunch. It’s a fantastic sequence that offers a jolt of terror that takes the viewer by storm. While our first glimpse of the ants reveals a severely dated monster, the way that Douglas reveals the creature and the ominous build-up that preceded the encounter maximizes the monster’s impact. If you were left unimpressed by this first encounter, wait until our protagonists find the nest, which offers another startling look at these mutated monstrosities. As helicopters circle above, an ant emerges from a massive hole still gnawing on one victim’s rib cage. After sucking the meat clean, the bones drop into a heaping pile of skulls, tattered clothing, and more. As the ant wanders away from the festering pile of death, Pat gravely observes that they have found all the individuals that have been reported missing over the past weeks. Now THAT is creepy.
After the attack on the nest and the discovery of the escaped queens, Them! reverts back to being a character-driven picture. Douglas allows the terror to trickle in as reports are made of demolished trains, ravaged freighters, and creepy reports of ant-shaped UFOs swooping in and attacking small planes. Along the way, Douglas elevates some of the tension by executing some wonderful moments of comedy, specifically from Gwenn’s Dr. Harold Medford, who can’t seem to figure out how to properly use a helicopter radio. And there is also the drunk-tank sequence, where a belligerent drunk named Jensen bargains that he will share information about the ants if he is made “a sergeant in charge of the booze.” Of course, Douglas is offering us a breather before his final burst of horror and action. The climax gets rolling as authorities issue martial law throughout the streets of San Francisco, warning citizens to take shelter in the comfort of their homes. With the ants nestled deep under the city, and reports of two small boys having suddenly disappeared, the pressure is on to send troops down into the shadows of the city’s storm drains. It is at this show-stopping climax that Douglas really lets his ants do some damage. As flamethrowers roar, machine-guns snarl, and ants screech, Them! lets loose a searing fury of violence that concludes with a warning that mankind has entered a terrifying new world—an unknown world that may crawl with horrors we never could have predicted.
Further adding to the strength of Them! are the spirited performances, specifically from Whitmore, Arness, Gwenn, and Weldon. Arness is a man of authority as Graham, an FBI agent swiftly trying to track down the ants before they invade the streets of San Francisco. Whitmore gets to play action hero as Ben, a flame-thrower packing, machine-gun toting cop who mows the ants down with teeth gritted. Gwenn steals nearly every scene he is in as the bumbling-but-wise Dr. Harold Medford, the levelheaded scientist who fumbles and sighs at helicopter radios and crooked goggles. Weldon finds a pleasant middle ground as Pat, Harold’s brilliant daughter who proves to be a strong-voiced ally in the race to stop the ants. She is naturally thrust into several scenes that require her to be the damsel-in-distress, but when the chips are down, she bravely treks through those threatening storm drains right along with the male protagonists. Overall, a far throw from some of the other chintzy sci-fi guilty pleasures of the era, Them! remains an ingenious and wildly frightening look at man’s radioactive entrance into the Atomic Age. It creeps and crawls with fidgeting paranoia and crackling action, and it’s guided by assured direction and straight-faced performances. Them! fully deserves its place as a Cold War classic.