While the Last Call crew continues to recover from Joe Bob’s Halloween Hootenanny, check out some old-school content from the man hisself. This review of Inbred Rednecks from September 5, 2001, feels like it was a warm-up for Joe Bob’s current How Rednecks Saved Hollywood tour that is surely coming to a Mutant City near you. Check the Upcoming Appearances section of this here website!

Inbred Rednecks

It’s been a long time since the heyday of the redneck movie, the swamp movie, the hillbilly movie, the cornpone southern action comedy. Peter Graves in Poor White Trash is probably the apotheosis of the genre, with Herschell Gordon Lewis’s Year of the Yahoo! being the bottom of the low-budget pickle barrel and the immortal Smokey and the Bandit being the mainstream blockbuster version.

To have all the elements of a redneck movie, you need:

   1. Rednecks, preferably beer-guzzling.

   2. Backwoods babes in short shorts and halter tops.

   3. Tattooed bikers.

   4. Moonshiners in muscle cars.

   5. Revenge.

   6. Bathroom humor, preferably outhouse humor.

   7. At least one bar fight, preferably with broken beer bottles.

   8. An old grizzled coot.

   9. At least one high-speed Dukes of Hazzard-style motor vehicle chase involving river-jumping.

  10. Implied incest, bestiality or gene-pool confusion.

Okay, so I’m toting up the count on Inbred Rednecks, and I get a score of 7 and a half —not too bad for Joshua P. Warren, the one-man film industry of Asheville, North Carolina, who used amateur actors to try to pull off the first genuine country-bumpkin comedy in eons. Josh has obviously done his redneck homework in the town Thomas Wolfe could never go home to, and the result is kind of horrifyingly bad at times, but in a way that grows on you until you actually like these barfing brew-quaffing rubes.

The complete plot of Inbred Rednecks: The sensitive story of Billy Bob and his six-foot-tall hormone-enhanced gamecock that he christens with the endearing name of Big Ass Rooster. Billy Bob and his best friend Clovis (played by Josh himself, who also wrote, directed, photographed, edited, scored, and punched the little holes in the side of the film) take Big Ass to the local cockfights to try to score big cash off of Monty and his undefeated cock. Monty’s warrior bird takes one look at Big Ass Rooster and decides to commit suicide, setting off a celebration at the local roadhouse that features a colossal ass-whuppin and about 17,000 really painful redneck jokes.

Monty has to get his revenge, of course, so pretty soon he’s plotting to steal Big Ass for himself —but not before Clovis can make his play for the bootylicious local fast-food girl, the gravelly-voiced Bubba can barf his way through the state fair, the excitable Billy Bob can lead the local sheriff on a high- speed chase ending in senseless midget death, and Joe Bob (no relation) can unearth an old beach picture from Myrtle Beach that shows President Clinton exposing his privates. (It’s actually a plot point.)

In other words, no plot to get in the way of the story. This is not just a pure-dee North Carolina movie. This is a pure-dee western North Carolina movie, because they know that, if they have to, they can hide in those woods forever.

Drive-In Academy Award nominations for:

Two and a half stars. Joe Bob says check it out.

© Copyright 2001 Joe Bob Briggs