Follow Us on Twitter

The Devil's Rejects - Review

Rob Zombie's The Devil's Rejects

Review by Jack Foley

IndieLondon Rating: 1 out of 5

SPECIAL EDITION DVD FEATURES: Audio Commentary By Director Rob Zombie; Audio Commentary By Stars Bill Moseley Sid Craig And Sheri Moon Zombie; 30 Days In Hell The Making Of; Blooper Reel; Deleted Scenes; The Morris Green Show; Buck Owens Video Satans Got To Get Along Without Me; Captain Spauldings Christmas Commercial; Otis Home Movie; Make Up Test; Matthew McGrory Tribute; Mary The Monkey Girl Commercial; Bloody Stand Up Video; Stills Gallery; Theatrical Trailer

IT’S difficult to imagine a more sadistic and unpleasant cinema experience than watching Rob Zombie’s The Devil’s Rejects.

A loose-follow up to his critically-derided House of 1,000 Corpses, Rejects is a twisted ‘road movie’ that revels in its gratuity – be it violence, sex or swearing.

The film clearly derives its inspiration from the video nasties of the 70s, yet remains careful to stay the right side of the censor to ensure a cinematic release.

And it attempts to be ‘cool’ by referencing other movies, as though Zombie is setting himself up as some sort of Tarantino equivalent for the horror brigade.

The film follows the fortunes of a trio of serial killers, led by Sid Haig’s demented clown-like figure, Captain Spaulding, and includes his psychotic son, Otis (Bill Moseley) and sex-starved daughter, Baby (Sheri Moon Zombie), as they are forced on the run by William Forsythe’s over-zealous law enforcer, Sheriff Wydell.

The ensuing road movie plays out like an orgy of depravity – part Dukes of Hazzard for the horror generation, part snuff movie by the creator’s own admission and part Wild Bunch homage.

It includes the extended torture of a travelling family of musicians (including Geoffrey Lewis), as well as the odd surreal detour into backwoods America (as depicted by eccentric film critics and chicken fanatics).

Yet the swearing and blood-letting is damn-near unrelenting and nothing more than a thinly veiled excuse for Zombie to show just how ‘clever’ he is at depicting pain and suffering.

Hence, the film comes complete with a cool Seventies soundtrack as well as plenty of flashy editing.

The most worrying aspect is that viewers will become numb to the blood-letting by the time they reach the over the top finale during which Zombie would seem to have them root for the serial killers over Forsythe’s law enforcer.

But then that is the sort of twisted logic that runs rife throughout Zombie’s unpleasant splatter-fest that really ought to be rejected from the outset.