Drive In That Went Too Far

There are lots of things from “Drive In” we could judge as going too far. It’s certainly a bummer watching a new horror story engage with old tropes by killing off the one non-binary character Dee (Ben J. Pierce) in the friend group first. But what we want to focus on is “Rabbit Rabbit” itself and its ultimate fate. Larry Bitterman (John Carroll Lynch) resurrects “Rabbit Rabbit” by recutting the film from a work print — a dodgy prospect from the word go. The likelihood of a workprint being viewable enough on a big screen to sell tickets is a little dodgy to begin with and that’s before you calculate for the possibility that the film materials could’ve easily been damaged if vinegar syndrome had set in. It doesn’t look like Bitterman takes great care of the movie print, so just from a film geek perspective, there are technical, nit-picky questions to be had.

However, nothing is more ridiculous than the specifics of how “Drive In” ends. We see the surviving heroes Chad (Rhenzy Feliz) and Kelley (Madison Bailey) making love when, as if by magic, Chad’s Netflix automatically updates to show that “Rabbit Rabbit” is available to stream. That’s not how Netflix really works. Moreover, we end by looking out the window and seeing chaos reign through the night with fires burning and people screaming everywhere. Didn’t Netflix just add the movie? How many people have already chosen to watch a film that’s largely unheard of by the average movie watcher? But more than anything there’s the scene in which Larry screams that Chad and Kelley won’t like the reason why Larry is able to own a Rolls Royce. Even a cheap Rolls Royce costs over $300,000 and we are meant to believe that Netflix would’ve paid in excess of that to Bitterman for a relatively unknown older film sourced from a workprint whose rights he might not even technically own?

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