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    Movies

    B-movie legend Joe Bob Briggs scares up campy holiday fun in Houston

    Craig Lindsey
    Dec 12, 2018 | 3:18 pm
    Joe Bob Briggs promo movie
    The legendary B-movie buff will host a fun movie screening.
    Photo courtesy of Joe Bob Briggs

    When Dallas-born newspaperman John Bloom adopted the persona of redneck, Western-wearing movie critic Joe Bob Briggs more than 30 years ago — writing proudly un-P.C. reviews of B-movies and exploitation movies that would get syndicated in papers across the country — one thing he didn’t expect to do was bring families together.

    But that’s exactly what he did when he started hosting the popular, long-running Joe Bob’s Drive-In Theater on The Movie Channel back in the ’80s. “It’s remarkable how many people tell me that they watched it in family units like that,” says a giggling Bloom/Briggs, 65, tells CultureMap. “You know, that it was a unifying thing with their dad or their uncle or their brother or their sister.”

    Through championing and showing films that mostly traffficked in his love of the three B’s — blood, breasts and beasts — Briggs not only became a familiar face on many families’ living-room TV. He also became an influential figure in the film world — the Pauline Kael of the drive-in/grindhouse circuit, if you will.

    If it wasn’t for Briggs, we wouldn’t have art houses programming screenings of cult films and midnight movies, exploitation-friendly film festivals like Austin’s Fantastic Fest and film critics who aren’t afraid to show love to entertaining genre films. (You could also say that Briggs is responsible for all the rabid fanboys who go nuts on the Internet whenever someone doesn’t care for a popcorn picture they like — but let’s not completely blame those psychos on him.)

    Briggs is proud that cult films and B-movies are no longer held in low regard. “When I first started reviewing these films, I was the only guy reviewing these films,” he remembers. “For the most part, I was the only guy writing weekly, on a regular basis about — and we didn’t call them genre films; we called them exploitation films. They were considered disposable. They were considered trash. People didn’t even keep the prints. The mainstream media didn’t review them at all. And, so, it’s good that many of these films were sort of rescued from oblivion, because nobody really wanted to give them any attention.

    “So, it’s a good thing that now, when one of them comes out, there are a thousand reviews of them on the Internet the next day.” He giggles again. “Because it means, at least, they get a fair shake in the marketplace. Maybe they’re only gonna be on Netflix for three months or something. But, at least, people are aware of them.”

    Another streaming platform these films could go to is the horror/thriller service Shudder. These days, that’s where you can find Briggs, once again introducing classic, old-school, drive-in movies. It began when he hosted the 24-hour movie marathon The Last Drive-In with Joe Bob Briggs over the summer, which caused many servers at Shudder to break down due to fans clamoring online to see Briggs again. “Everyone got kicked off the system,” he says. “We not only shut down the Shudder servers, we shut down the Sundance Channel servers. I don’t know how they were connected.” (Shudder is owned and operated by AMC Networks, which also owns SundanceTV.)

    Briggs just got through hosting a Thanksgiving marathon on the service, which means a Christmas marathon — titled “A Very Joe Bob Christmas” — is right around the corner on December 21. (A weekly series is coming in 2019.) He’ll also be having a yuletide celebration right here in Houston, hosting a holiday-themed double feature at Alamo Drafthouse LaCenterra on December 14.

    The event starts with the 1974 slasher flick Black Christmas (which is already sold out), followed by the 1977 Satanic thriller The Sentinel, which Briggs calls “the lesser-known of the Catholic-themed horror movies of the ’70s.” “You can do things at Alamo that you can’t do anywhere else,” he says, “because they have that audience that sort of hunger for cult films and films that are out of the mainstream.”

    So, don’t be surprised if you see whole families attending these films, as Joe Bob Briggs once again gives them some blood and gore to bond over.

    ---

    The Graveyard Shift: The Sentinel with Joe Bob Briggs Live! runs Friday, December 14, at Alamo Drafthouse LaCenterra, 2707 Commercial Center Blvd., Suite K-100. Showtime is 10 pm. Tickets are $25.48.

    moviesholidays
    news/entertainment

    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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