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Trust Weighted
Great
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15Trust Points
tomelce's Review
Summary - Really Great 4.5
A road movie with a sense of horror-genre history that isn’t diminished to insincere box-ticking a la “All the Boys Love Mandy Lane,” musician-turned-filmmaker Rob Zombie’s sophomore effort “The Devil’s Rejects” proves one of the most bleakly violent and nihilistic horror films of the 21st century thus far. Contrary to the belief in some critical circles, however, it is also one of the best. It’s an orgy of violence in the tradition of Tobe Hooper’s “Texas Chainsaw Massacre,” where the killers of the piece are as unpolished and unforgiving as you’re likely to see in a Hollywood film wherein good looks and evil eyes prove a weak Hollywood alternative to actual menace (I’m not nor ever was I haunted by Wes Bentley in “P2.”
Though Zombie’s style of filmmaking continues to be subject to much criticism (in all his unflinching hick-horror stylings, he’s an easy target for the ‘above it all’ crowd), his visual skill and the actual craftmanship that goes into his films – for better or worse – can’t passingly denied. Zombie’s villains here are a close-knit family unit who are also satanic serial killers, showing no remorse when coming across their victims, evidenced most explicitly in “The Devil’s Rejects” during which they ruthlessly torment and execute a travelling band. They don’t dress to impress, they don’t talk like Hannibal Lecter and they show zero mercy in doing what they do. Like it or not, these are the most appealing horror villains (to a modern audience with an admitted appetite for exploitative violence) to have come around in a while.
That they’re pitted against a vengeful sheriff (played by William Forsythe) who himself isn’t especially soft in his approach to the law makes for a motion picture in which likable characters are few and far between (maybe even non-existant). The skill with which Zombie scripts and shoots proceedings, then, is much of what the film’s respect is earned of, the director fusing visual and technical references to myriad Grindhouse classics with a modern tale of his own to make for what qualifies as both a history lesson in B-movies and, most notably, a present-day lesson in how to make something cinematically scary. The black humour with which much of the proceedings are laced (a Mark Twain comment comes out of left-field at one point) also helps make a film centric on such despicable characters more approachable. Writing as someone who has enjoyed the horror genre all his life, this is a great one, and one of my favourites of the past ten years to boot.
Acting - Great 4.0
Bill Moseley steals the show as arguable lead villain Otis, horrible in the way he treats his victims and brilliant in the way he gives the character a terrible authentic edge that makes him feel like a legitimate insane murderer. That he was the subject of an independent campaign to get an Oscar nomination says all you really need to know about the portrayal, though the way in which he particularly steals the show during the aforementioned motel scene with the unlucky band deserves special mention. Beside him in the lead department, Sid Haig is down ‘n’ dirty and almost equally sadistic as Captain Spaulding.
In the female lead department, Sheri Moon Zombie is surprisingly terrific as Baby Firefly. She’s selfish and nasty in a way few female killers in movies are, believably taking delight from taunting and playing mind games with her victims. In many ways, she manages to shed the stigma of being given a major part in a film directed by her husband by turning in a commendable, memorable performance of her own.
Otherwise, William Forsythe steals his scenes as the vengeful Sheriff Wydell and Ken Foree makes an impression as the amoral pimp Charlie Altamont, who the on-the-run lead family seek refuge with while law enforcement chases them down.