Any horror 'fan' can say what they will, Rob Zombie is the saving grace to the classic horror film we all know and love. The Devil's Rejects is a prime example of learning from a previous mistake.
Rob realized that there is such a thing as too many visuals and TOO many colors. Rob also went fan-boy crazy in House, dwelling on some of his favorite views expelled from childhood favorites.
In The Devil's Rejects, Rob becomes more familiar with the fact that the camera isn't a toy, but a powerful tool, that if used right, could emit something spectacular - no matter what the subject matter.
One thing that stands out in this film is the reversal of fates for our characters. In most cookie cutters, we find the point of view from that of the victim, giving very little camera time to the villain. This worked extremely well in films like Halloween and Friday the 13th. From this perspective, we have the total opposite. Instead, we're shown first hand the point of view of the killers and ride along as they do what they do.
In essence, Rob still takes the standard route because even tho we're along for the ride on the escape cross country, we never really know why they do what they do - Just like in the first Halloween, we know not why Mike decides to stalk and slasher babysitters on halloween night.
Nevertheless, here we are. We're taken on a journey with our characters where we find out that besides the fact they're murderous goons, they know all to well the meaning of family or simply getting someones back in time of need. Talent rears its beautiful head as Rob slowly turns the screw until we're finally rooting for the guys we're supposed to be hating. He uses a symbol of goodness and distorts it (the cop), allowing the viewer to lower their sympathy guard enough to humanize the bad guys.
I've heard a lot of remarks on what films Rob was giving nods to in The Devil's Rejects - I think a lot of people have points, but The Devil's Rejects places a lot of emphasis alongside The Hill's Have Eye's. It's like the primal instinct of revenge - to accommodate one life for another. It refers back to the old testament rule of thumb: 'An eye for an eye'. Not only this, but it digs deeper, giving leeway to a similar story (The Sawney Bean story) about a bunch of 15th century settlers who resorted to cannibalism- and- when found, were hanged by the locals out of rage. The torture the Sawney Bean family endured for their ghastly deeds wasn't too much further than the ghastly deeds performed on them by the locals - - As in the sheriff going through extremes to extract revenge for what the murderous Firefly clan did to his brother.
Great cinematography, great characters, great soundtrack, great non-distinction of who we should be rooting for, wonderful atmosphere, with a kick of drive-in flick, accompanied by an early 80's action/thriller, based with an all out balls-to-the wall gore/exploitation film.
Great film-making from a relative newcomer. Rob Zombie is going to give CPR to the horror film, dishing out some of the best horror films in the last 20 years.
Rob realized that there is such a thing as too many visuals and TOO many colors. Rob also went fan-boy crazy in House, dwelling on some of his favorite views expelled from childhood favorites.
In The Devil's Rejects, Rob becomes more familiar with the fact that the camera isn't a toy, but a powerful tool, that if used right, could emit something spectacular - no matter what the subject matter.
One thing that stands out in this film is the reversal of fates for our characters. In most cookie cutters, we find the point of view from that of the victim, giving very little camera time to the villain. This worked extremely well in films like Halloween and Friday the 13th. From this perspective, we have the total opposite. Instead, we're shown first hand the point of view of the killers and ride along as they do what they do.
In essence, Rob still takes the standard route because even tho we're along for the ride on the escape cross country, we never really know why they do what they do - Just like in the first Halloween, we know not why Mike decides to stalk and slasher babysitters on halloween night.
Nevertheless, here we are. We're taken on a journey with our characters where we find out that besides the fact they're murderous goons, they know all to well the meaning of family or simply getting someones back in time of need. Talent rears its beautiful head as Rob slowly turns the screw until we're finally rooting for the guys we're supposed to be hating. He uses a symbol of goodness and distorts it (the cop), allowing the viewer to lower their sympathy guard enough to humanize the bad guys.
I've heard a lot of remarks on what films Rob was giving nods to in The Devil's Rejects - I think a lot of people have points, but The Devil's Rejects places a lot of emphasis alongside The Hill's Have Eye's. It's like the primal instinct of revenge - to accommodate one life for another. It refers back to the old testament rule of thumb: 'An eye for an eye'. Not only this, but it digs deeper, giving leeway to a similar story (The Sawney Bean story) about a bunch of 15th century settlers who resorted to cannibalism- and- when found, were hanged by the locals out of rage. The torture the Sawney Bean family endured for their ghastly deeds wasn't too much further than the ghastly deeds performed on them by the locals - - As in the sheriff going through extremes to extract revenge for what the murderous Firefly clan did to his brother.
Great cinematography, great characters, great soundtrack, great non-distinction of who we should be rooting for, wonderful atmosphere, with a kick of drive-in flick, accompanied by an early 80's action/thriller, based with an all out balls-to-the wall gore/exploitation film.
Great film-making from a relative newcomer. Rob Zombie is going to give CPR to the horror film, dishing out some of the best horror films in the last 20 years.