Tag: Mahoning Drive-In

A Year ‘At The Drive-In’: Falling in Love with The Mahoning D.I.T.


As I have a strict rule about not reviewing films here that I haven’t seen theatrically, this will not be a review of Alexander Monelli’s lovely documentary At The Drive-In (though I do highly recommend watching it, particularly before reading this). Rather, this will be, in part, an essay of my own experiences from the past year, and, partially, a years-later addendum to the documentary.

To begin, like many of you, I was getting a little stir-crazy a few months into Covid. Particularly with going to the movies being a huge part of my life, I was eager to get back to seeing things on the big screen and catching up with friends.

Enter The Mahoning Drive-In Theater.

Now, I’d heard of The Mahoning before last June; I’d heard of it before the documentary came out; and I even knew people who attended (and beyond), but there were some psychological hurdles for me to get over. For one, it’s two hours from where I live? That’s a little far for a night-time excursion. For another, people camp there? I was a Boy Scout drop-out; I’m good on camping. And lastly, you know, it’s outside, in the Summertime? Not exactly ideal for my housecat sensibilities.

Fast forward back to June 2020, and I’m so desperate to get back to the movies that I’m quickly starting to bargain all this stuff away: Oh, it’s a two hour drive? Who cares? I’m working from home and I’ve got little else on my social calendar. People camp there? I’ll just go for the evening and drive back after the movies. It’s outside? Great! Outside is better than inside while Covid’s happening.

So, I finally pull the trigger and go to see, of all things, Superman III & IV on 35mm film. Not only that, but, unbeknownst to me before my arrival, I have friends already there in the front row.

So, I go, and I have a great time, because it’s a place for great times. And a few weeks later I book a hotel room in Allentown and go for a weekend, this time for some Bat-mania. And, a few days after that, I go to my first Tunnel Vision Tuesday show (Hard Boiled). And, not even a week later, I’m at my first Sunday night show (Rock ’n’ Roll High School). And on, and on, and on.

A year to the day after my first trip, I’m tired, I barely even know my name, but I know I’m going to be at the drive-in quite a bit this week! Let’s just say it: I’m a full-blown Mahoning junkie.

Now, if you’ve seen the At The Drive-In documentary, you know part of the 2014-onward Mahoning story (a crucial part, no doubt). You know how the theater faced down the threat of no more first-run film prints by leaning into full retro, despite many doubts from many quarters (including the studios providing prints). You know that, not unlike the ending of UHF (oops, spoiler!), they managed to turn a profit that first full retro season and hold onto the business.

But, if that’s all you know, there’s a lot you don’t.

For one, some of the faces you saw in the documentary are no longer there, but many still remain. Jeff is still overseeing (and cutting paychecks[!], as the workforce is no longer all volunteer); Virgil is still the booker and all-around major-domo; Jess is now senior manager (and still the longest-serving employee); Mark (the “drives all the way from New Hampshire” guy) is now general manager; James [aka J.T] is not only still livening things up with his costumes, but also designs and helps build some outstanding photo ops; and superfan-turned-volunteer Rob is now a projectionist.

However, as we know from Dunkirk, sometimes survival itself is victory, but what if I told you that the Mahoning has not only survived since first-run film prints stopped being made, but has thrived? And what if I told you that the pandemic-time actually sowed the seeds to take it to another level?

It’s true. All of it.

I mean, look at my story. You think I’m the only one who finally went to The Mahoning because everything else was shut down during Covid? I can tell you, I was not alone. But not only did the Drive-In get many first-time customers last year, they got first-time event sponsors as well. With indoor conventions/festivals/etc. a no go, entities such as IFC, actor Bruce Campbell, and Monster-Mania held events at The Mahoning in 2020; all of which laid the groundwork for a jumbo-sized weekend in July 2021 with horror host Joe Bob Briggs and all the power of the Shudder network coming to do his show The Last Drive-In from The Mahoning.

But that’s not all! Believe it or not, there’s more than just horror (and sometimes action) at The Mahoning. Since the Drive-In is not a first-run theater (honestly, it’s basically a museum at this point, in the best way possible), they have been allowed access to the notoriously stingy Disney film vaults. They’ve already shown a couple well-known classics this year in Who Framed Roger Rabbit? and Honey, I Shrunk the Kids, as well as some darkhorses such as Return to Oz. Personally, I’m holding out hope for a Rocketeer screening.

Finally, in a total 2021 move, The Mahoning started a Patreon (of which I am a Simplex aka top tier member). Not only does it help keep the lights on, but it allows for special opportunities for top-level Patrons to once-a-month see a selection from the theater’s own vast grindhouse collection.

So, come one, come all, to The Mahoning Drive-In Theater, with its giant Cinemascope screen, and still running the original film projectors since it first opened in 1949. Whether you’re a casual movie fan, a 35mm film zealot, or perhaps just a humble parent with some kids, The Mahoning has something for just about everyone.

A year after my first trip, I can hardly imagine life without it.


In Defense of: George A. Romero’s ‘Dawn of the Dead’

International Premiere: September 1, 1978
U.S. Premiere: April 7, 1979

Written, Directed, and Edited by George A. Romero
Cast: David Emge, Ken Foree, Scott Reiniger, Gaylen Ross, David Crawford, David Early, Richard France, Howard Smith, Daniel Dietrich, Fred Baker, James A. Baffico, Jese Del Gre, Randy Kovitz, Joseph Pilato, Pasquale Buba, Tony Buba, Tom Savini, George A. Romero
Soundtrack: De Wolfe Music Library (U.S.)/Dario Argento & Goblin (International)

I know what you’re thinking.

I know exactly what you’re thinking.

Dawn of the Dead is a seminal horror classic with legions of fans around the world.

“Why on Earth would it need defending?”

Come with me, my friends, and I will show you (the walk is not far).

True, Dawn of the Dead is a Classic whether I say so or not. The story of four heroes (Stephen, Peter, Roger, and Fran) on a quest to survive the Zombie Apocalypse (brilliantly unexplained in the film), hunkered down in a lush suburban shopping center after escaping the ravages of Philadelphia (and also the undead), is as compelling as ever after the events of 2020 and onward; but while the film is undoubtedly punctuated by horrific violence, it has so much more to offer.

Dawn of the Dead fervently checks off the classic horror criterion of “How Would I Handle This Situation?” while simultaneously asking deep ethical questions on the level of great sci-fi, while also being, at its core, just kind of a fun adventure movie.

Honestly, if you were to hypothetically tone down the gore, Dawn of the Dead could easily be a Saturday Matinee you could watch with the whole family; not that I’m advocating for that sort of censorship, I’m just pointing out how surprisingly enjoyable of a film it is in spite of, perhaps, its reputation in some circles as nothing more than a gross-out geek show.

And that’s why I feel the need to “defend” it. Because Dawn of the Dead is not just a “good horror movie,” it’s an outstanding movie by any standard, and deserves respect on that level (“Film School” level, if you will).

If I have any criticisms whatsoever, it’s that some of the music choices in the U.S. Theatrical version feel a bit clunky, and there’s one aspect of the ending that I find puzzling, but overall it’s a wonderful movie from start to finish.

Rating: ★★★★☆

Classic Movie Review – ‘Willy Wonka & the Chocolate Factory’ – 50 Years of Pure Imagination



I’m baaaaaaaaaaack!

What can I say? Between the pandemic and the 2020 drive-in season ending, I just haven’t felt much like writing the past six months, but now that the Mahoning’s got the Simplex projectors shining again, I’m going to try to find some rhythm.

Original Release Date: June 30, 1971

Directed by Mel Stuart
Written by Roald Dahl, based on his novel, Charlie and the Chocolate Factory, and David Seltzer (uncredited)
Cast: Gene Wilder, Jack Albertson, Peter Ostrum, Roy Kinnear, Julie Dawn Cole, Leonard Stone, Denise Nickerson, Nora Denney, Paris Themmen, Ursula Reit, Michael Bollner, Diana Sowle, Aubrey Woods, David Battley, Günter Meisner, Peter Capell
Soundtrack: Walter Scharf (score), Anthony Newley & Leslie Bricusse (songs)

After nearly five decades of traumatizing children (myself included), I’m not sure there’s anything new that I can say about Willy Wonka & the Chocolate Factory (even RedLetterMedia‘s done a review by now), but what is life if not exercising futility?

As the story goes, director Mel Stuart’s daughter read Roald Dahl’s book and wanted her dad to turn it into a movie. It wasn’t Stuart’s first feature film, he did have a couple under his belt already, but the vast majority of his experience to that point was in documentaries (honestly, I know it’s a sounds like a strange comparison, but the circumstances remind me a bit of William Friedkin directing The Exorcist, although he also had an important movie in 1971, and he also happened to work for Stuart and producer David L. Wolper on ABC’s 1966 documentary The Thin Blue Line).

Second only to the casting of Gene Wilder (who we’ll get to), Stuart’s direction is the lynchpin of the operation. For one, there was a severely limited budget for the kind of film being made, and he undoubtedly knew how do things in an economical way; but, artistically, his documentary background comes in handy in giving the movie any sort of legitimate grounding (which is severely lacking in the Tim Burton remake), particularly in the first act, in order the make the later fantastical elements more real (along with some wonderfully matter-of-fact dry humor).

But, of course, it’s Willy Wonka’s world, and perhaps no actor, not even “Sean Connery IS James Bond” (speaking of Roald Dahl…), has defined a character more than Gene Wilder in the titular role (sorry, Johnny Depp… Actually, no, I’m not sorry). It’s not my personal favorite film of his (that would be Silver Streak), but I’m hard pressed to say that it’s not Wilder’s best performance. He’s not even introduced until nearly halfway through the movie, yet he is instantly indelible; with charm, with wit, and with more than a bit of sarcasm, but, in the end, heart.

However, the biggest heart of them all is young Charlie Bucket, admirably played by Peter Ostrum in his first and only acting role (he went on to become a veterinarian). Not to say that the other kids and parents don’t do a fine job, but they really nailed it with his casting; it’s hard to imagine the film without him either.

In the end, not only does the movie still hold up some five decades later on its own merits, its cultural impact is undeniable. From The Office to Futurama and beyond, Willy Wonka is one of the most referenced films of all time (not to mention the ever-enduring meme); though I’m not sure how many folks would have guessed that in 1971, as it struggled to break even at the box office in its initial theatrical release. But, as happens with certain properties, it found new life on network television screenings, and, later on, home video rentals.

Not bad for a little movie that could.

Rating: ★★★★☆

Classic Horror Treble – ‘Pieces’ – ‘The Prowler’ – ‘Massacre at Central High’ – No Quick Cuts



So, I saw all three of these in a row at the final night of Camp Blood VI at The Mahoning Drive-In Theater. I was excited because I’d never seen any of them, and I was hoping to find a gem, which I kind of did, but, well, let’s just get into it.

Original Release Dates:
August 23, 1982 (Spain)
September 23, 1983 (US)

Directed by Juan Piquer Simón
Written by Dick Randall and Roberto Loyola
Cast: Christopher George, Lynda Day George, Frank Braña, Paul L. Smith, Edmund Purdom, Ian Sera, Jack Taylor, Isabelle Luque, Gérard Tichy
Soundtrack: CAM

In the words of Michael Bluth, “I don’t know what I expected.“

“PIECES: It’s exactly what you think it is!” reads the brilliant tagline, and, I suppose it is, but, I guess I was hoping for something…a little more?

To be fair, it’s not the worst slasher movie I’ve ever seen, but it is one of the dumbest. Others have argued that Pieces is some sort of self-reflexive horror comedy, but I absolutely refuse to give it that much credit (it’s certainly no Slumber Party Massacre, I tell you what). I think the stupidity is exactly what it is on its face; nothing deeper. If you want to argue “so-bad-it’s-good,” that’s a different discussion (I still disagree), but clever? No.

And, frankly, the “Tower of Babel” method of filming without sound and dubbing in voices later does this movie no favors either (there are other films I haven’t minded it on, but it sticks out like a sore thumb here).

Also, they really get no mileage out of their Boston setting. I mean, I realize the film was a Spanish production largely shot in Madrid, but why even bring Boston up? Just set it in “The Town” like Frisky Dingo.

The kills, to say one positive horror movie thing, are pretty well-executed (and grisly), and overall the movie is just weird and interesting enough for me to not totally throw it in the trash, but I don’t exactly recommend it either.

And that’s all I have to say about Pieces.

Rating: ★★½ (out of five)


Original Release Date: October 9, 1981

Directed by Joseph Zito
Written by Glenn Leopold and Neal Barbera
Cast: Vicky Dawson, Christopher Goutman, Lawrence Tierney, Farley Granger, Cindy Weintraub, Lisa Dunsheath, David Sederholm, Bill Nunnery, Thom Bray, Diane Rode, Bryan Englund
Soundtrack: Richard Einhorn

I never really thought about it before, but a major trope of slasher movies is a prologue in the past. Friday the 13th, Halloween, even Pieces, they all begin their stories years earlier, as does The Prowler, but what separates it from the others is just how much it leans into the period.

Frankly, I was a little disappointed The Prowler didn’t take place entirely in the 1940s, because the introduction is arguably the strongest part, at least visually.

However, it doesn’t entirely shoot its wad up front. The titular prowler is a striking antagonist, and the movie provides a lot of legitimate tension (in addition to some brutal kills courtesy of Tom Savini). The problem overall is that it’s more than a bit sleepy, and I found the conclusion pretty unsatisfying (honestly, this sentence could double as my review of Friday the 13th: The Final Chapter, also directed by Joseph Zito).

Still, I like Vicky Dawson and Christopher Goutman as the leads (seems a shame that they didn’t have more prolific acting careers), and (especially compared to Pieces) the film makes good use of its location (Cape May, NJ apparently doubling for Avalon, CA).

It’s just not particularly special.

Rating: ★★★☆☆


Original Release Date: November 10, 1976

Written and Directed by Rene Daalder
Cast: Derrel Maury, Andrew Stevens, Robert Carradine, Kimberly Beck, Ray Underwood, Steve Bond, Damon Douglas, Rex Steven Sikes, Lani O’Grady, Dennis Kort, Cheryl Smith, Jeffrey Winner, Tom Logan
Soundtrack: Tommy Leonetti

Man, so this was… “surprise hit” would an overstatement, but it was undoubtedly the most interesting film of the night.

In contrast to, say, Rock ‘n’ Roll High School, where the “teenagers” are at odds with their adult overlords, Massacre at Central High doesn’t even show a non-student until the very end of the movie. It’s a bit of a heightened reality, but not totally detached either. I’d say it’s like if American Graffiti and The Mechanic had a baby (no surprise that Massacre at Central High was an influence on Heathers).

The movie certainly features some creative kills, but to me the primary strength of the film is Derrel Maury as David. The role itself is reasonably well-written, but he does plenty of work himself to offer a compelling performance, and he and Kimberly Beck (future star of Friday the 13th: The Final Chapter…is there an echo in here?) have good chemistry. I wish I could say the same for Andrew Stevens as the other lead; it’s just not his finest hour. Thankfully there are some other highlights in the supporting cast (including Robert Carradine).

As I said, it’s not great, but it’s unique enough to see once.

Rating: ★★★☆☆


So, yeah, it wasn’t the greatest night of horror in my life, but at least it was all new to me, and at least I was among friends. That’s the real win.