Directed By Rob Zombie
Starring – Sheri Moon Zombie, Sid Haig, Bill Moseley
The Plot – A sequel to the 2006 hit “The Devil’s Rejects” pairs our favorite maniacal trio once more, this time being imprisoned for their crimes. The film picks up after the events of the previous film, and is the third in Zombie’s trilogy.
Rated R for strong sadistic violence, adult language throughout, sexual content, graphic nudity, and drug use.
– Throwback production quality. If you commend Zombie for anything in the director’s chair, it’s his ability to transport us to a time and place that he knows and admires fondly, giving his presentations a stand-out quality for very little buck in budget. As is the case with the first two films in this series, this one also takes place in the 70’s, and we’re treated to immersive values repeatedly in the form of grainy cinematography, complete with side-sliding transitions, classic cinema and TV shows that fill constantly pop-up from time to time, and a collection of Golden Oldies rock favorites that help to perfectly articulate the atmosphere within the scene. Everything lines up synthetically with the desired time frame, especially the variety in camera qualities, which articulate a documentary feel during the first act of the movie, and a full-fledged Western for the second. It cements once more the influence that this period had over Zombie’s filmography, and treats us to a confidence in style that he uses to differentiate from other horror films set in that era.
– Bill Moseley. The performances are mostly hit or miss for me, mainly in the form of Sheri Moon Zombie who once again substitutes dramatic depth for mumbling and inane bullshit, but Moseley’s growth as Otis is a pleasure to endure. His character is forced to take more of a leadership role in this film, and under the pressure of opposition in many forms, we are treated to a man who is every bit as confident as he is unforgiving in the clutch. Bill has always been one of my favorite horror actors of all time, but as this Charles Manson twin with a vendetta to constantly burn, his captivates and captures the attention of the audience with enough charm in personality, as well as aggression in brutality, which really defines what this family of psychopaths is all about. I could watch a one man show of this man, and really I wish I did. The movie is better every time he’s on screen, and worse when he isn’t.
– A new direction. The first half of this movie bored me, mainly because it doesn’t set itself up for any long term conflicts or character exposition besides our killer trio. The second half however, takes a couple of cues from “The Devil’s Rejects”, which while doesn’t land as effectively as the consistency of that prior film, does at least give us something to peak our interest in the form of conflict. It really goes from being a buddy road trip comedy to a western shoot-em-up, and the stakes of revenge come in the form of a man who has been wronged by this group during the early stages of this movie. For my money, I wish the first half of the film would’ve been cut shorter, and more time spent on this engaging evolution. It would’ve better fleshed out this rival of the Fireflies, as well as teased the urgency of the arrival in ways that doesn’t feel fully earned from the direction of Rob.
– Tasteless dialogue. I understand that asking for substance in a Rob Zombie movie is the equivalent of asking for purpose for a Tyler Perry one, but the lines and material uttered throughout this film felt like a child learned to curse for the first time. You’ve heard it before, it’s when Rob uses the F’ word every other word, usually mumbled so quickly and rhythmic that it lacks clarity in the ears of the audience. If this wasn’t enough, scenes drag on for an eternity because of this drifting in subject matter that changes at the drop of a hot. Improvisation is the biggest victim of the Fireflies madness, stretching scenes of purpose on for an eternity, in a way that will have you checking your watch if you can’t afford a Dave Chappelle “Wrap It Up” box.
– Hideous camera work. I commended the cinematography earlier, but the handheld styles used by Zombie here are among the very worst that I have seen in an action or any other respective genre in 2019. Besides the depictions feeling far too close to accurately convey the intended purpose of what is playing out in the scene, the editing instilled is choppy and full of abrupt machine-gun cuts that could certainly cause motion sickness to the wrong person. The physical conflict scenes are shot so poorly that more times than not you will have to mentally fill in the blanks to what you’re seeing, and while it’s so obvious that this purpose is to cover up a lack of believability from an aging cast, what we’re left with is something so visually disruptive that I had to look away each time any scene with physicality popped up.
– The kills. There’s nothing of style or substance to brag about here, and the lack of creativity given to scenes of permanence for characters made these instances feel like deleted scenes from “House of 1000 Corpses”. I say that because the brutality is certainly more in the tasteful direction of the first movie rather than its western genre dominated sequel, but nothing encased ever pierced my perceptibility, or made me feel squirmish from the finished result. Is there buckets of blood? Certainly, but the abundance of dependability upon them makes the red lose its appeal midway through the film, and had me in particular seeking some level of ingenuity to accentuate their existence. With a little bit of restrain, Zombie could earn more impact out of these instances, but the repetition in their demand makes them feel like a cliche by film’s end, and soon the main reason horror hounds are there in the first place turns into the biggest thing they are trying to escape.
– Rob Zombie. I know this man is capable of directing as proved in “The Devil’s Rejects”, but the decisions made by him in this film remind us why he hasn’t had a successful film since that 2005 occasion. For one, no character is anything but one-dimensional. Sure, there are times when it looks like the killers will question their dwindling existence, but nothing every materializes from it. Beyond that, it’s the lack of pacing used in these tense and anxious sequences that doesn’t master amplification when it comes to teasing audiences on the edge of their seats. For my money, this feels very much like a fan service film for Zombie, refusing to add anything of variance or originality to the series, and instead reaching for the same low hanging fruit that he has been riding on for two decades of filmmaking.
– Sluggish pacing. I wonder if I should even describe the details or just tell you that a man behind me in the audience fell asleep almost midway through this movie, and started to snore loudly to the delight of the audience. I can’t say what did it for this poor soul, but my guess is the dragging length of scenes that could easily be cut, but are left running to beat a laughing gag into the ground. In addition to this, the film itself is a story of two halves, feeling like two different films and directors are fighting for screen dominance in majority, and in this regard the worst half wins. Getting over this initial conflict during the first two acts of the movie takes far too long, and could easily be shortened if even a shred of logic was used by the script or these antagonists to save them and us some time. For a movie that is just under two hours, it feels like twice that, and thankfully Fathom didn’t include behind the scenes footage, or this run time would’ve inflated even more.
– The reason. How the Fireflies survived the events of “The Devil’s Rejects” was my biggest concern for this movie’s existence, and while the film did go the conventional horror route in those regards, the result is one that hurts two films for the price of one. It hurts that previous film because it takes away from the finality and impact of the film’s final shoot-out, which I felt was the most perfect way for revenge to finally catch up to this family. It also hurts this film because it removes any level of vulnerability or human quality for our trio, considering they’ve already been through much worse than anything this film could ever throw at it. This explanation lasts for about two scenes, and beyond that they never show even a tear of effect for what they went through, making Jason Voorhees scratch his head with the lack of logic.
– Nothing to say. There’s an attempt at some deep-seeded social commentary that Zombie is never smart enough to capitalize on. It happens during a couple of scenes, but mainly the scene in the intro, where a group of protesters are chanting to “Free the Three”. This speaks volumes at our nation’s love and obsession with serial killers, and could’ve worked wonders for the jaded line that these three toe in fighting for their freedom. Zombie, for whatever reason, never pulls the camera back from the trio of focus, adding another problem to the movie’s lack of protagonist that would’ve better established it as something more than just another reheated slasher special. It certainly beats treading on the familiarity of the first two films, leaving very little justification for its existence, and proving that the third time is indeed the harm.
My Grade: 3/10 or F