| The Devil's Rejects (2005) Dir: Rob Zombie Cast: Bill Moseley, Sheri Moon-Zombie, Sid Haig, William Forsythe, Ken Foree, Michael Berryman, Priscilla Barnes, Danny Trejo, Diamond Dallas Page, Steven Railsback Rated R, Approx: 107 minutes A Lion's Gate Entertainment Release |
| In many ways, The Devil’s Rejects is the movie that I’ve always wanted to see made, only I never knew it. I know how that sounds, but this film, Rob Zombie’s second feature as a writer/director is more than just a follow-up to his previous hit, House of 1000 Corpses. It’s a brilliant piece of filmmaking, and hands down one of the very best films of the year.
Picking up a short while after the events in House, Sheriff John Quincy Wydell (the inimitable William Forsythe in one of his best performances of all time) and an army of police launch a violent raid on the Firefly residence. In the opening scene, a violent shootout occurs leaving some of the family members dead, others captured and Otis (Bill Moseley), Baby (Sheri Moon-Zombie) and Captain Spaulding (Sid Haig) on the run. Wydell, haunted by the memory of his deceased brother (Tom Towels from the first film), has become obsessed with bringing his brother’s killers to justice and sets out to find the remaining members of the clan to do just that. Just as it sounds, Devil’s Rejects is a very different film from its predecessor. Some have argued that this one isn’t really a horror film, but that couldn’t be more of a moot point really. This is a down and dirty, violent and depraved film. It’s loaded to the brim with torture, sexual degradation, brutal killings, beatings and gunfights. There isn’t a major character with any sort of moral compass and its heroes and villains are pretty much interchangeable. In short, this is the sort of movie they don’t make anymore, haven’t made for a very long time and the type that we just assumed would never be made again! That’s precisely what makes Zombie’s second film so special. Technically, it’s amazingly well done. Many filmmakers have claimed to make ‘throwback’ films to a particular era, but this one is almost a vintage piece from the 1970s (only a few brief CGI blood spurts prevent this from being almost interchangeable). Zombie has clearly learned a lot in between his two films. This sequel is entirely devoid of the MTV-style that many felt plagued the first film. Using several techniques that were in common use throughout the 70s such as freeze frames and wipes and shot in an extremely gritty manner, this is as close a ‘throwback’ as we’re ever likely to get. To further ensure authenticity, the soundtrack is peppered not with Zombie’s music and driving metal, but music from the 70s. The decision to do so lends this film even more authenticity. Naturally it takes more than music to produce a 70s-style film, but it definitely doesn’t hurt it. It’s another necessary ingredient in this concoction of inspired filmmaking. Zombie’s writing skills were fairly efficient throughout his first film but this time around, he manages to write a surprisingly compelling movie. The three members of the Firefly family that take center stage in this sequel are given ample room to develop and we see them as far more believable persons this time out. Bill Moseley is a particular standout as Otis because he’s terribly intimidating but can also be hilarious with his choice line delivery and attitude. What really impresses with Moseley in Devil’s Rejects however is his ability to say a lot with little more than his eyes (pay close attention to the climax). Otis is an evil man, but not incapable of feeling sadness and grief, arguably even revulsion for some of the things that he’s done. Another strong part is William Forsythe’s starring role as the tortured and psychotic Sheriff Wydell. The script approaches this character with far more depth than I was expecting and Forsythe captures the anguish of the character perfectly. Wydell is a man whose need for revenge grows so great that he’s eventually consumed by that need. Forsythe, like Moseley, can go from likable hero to terrifying villain at the stop of a dime. I credit Zombie’s casting choice for giving this underrated actor a beautiful and meaty role for him to sink his teeth into. The other members of the Firefly family are also handled by good actors who give the film their all. Leslie Easterbook (you remember her from the Police Academy films) replaces Karen Black as Mother Firefly and for my money, delivers a somewhat more menacing performance than Black from the first film. Sheri Moon-Zombie’s second turn as Baby is just as sexually charged and menacing as before (a lot more ass shots including one ass double) and Sid Haig is always a pleasure as Spaulding. The casting was very strong in the first film, but is pitch perfect in every way here. And on the subject of casting, Devil’s Rejects often reads like a who’s who as far as horror films of the 70’s goes. Ken Foree has a small but memorable part as one of Spaulding’s old friends, Charlie Altamont. His scene with the chicken salesman could be one of the funniest things ever committed to film. Michael Berryman is another inspired choice and plays one of Charlie’s assistants. The script even finds time for Berryman to shine, playing off Foree in some truly priceless moments. Danny Trejo and Diamond Dallas Page turn up as a duo of unscrupulous bounty hunters and porno icon Ginger Lynn shows up for a cameo as well. Rounding out the supporting cast are P.J. Soles (Halloween) and Steven Railsback (The Stunt Man). Zombie deserves major credit for filling even the more minute roles with quality fan favorites, just another part of the joy of watching this film. |