The Devil’s Rejects

The second film directed by Rob Zombie represents one of those rare cases – masterpieces such as “The Godfather, Part II” (1974) are the exception that prove the rule – where the sequel is not only inevitable and necessary, but actually superior to the original film. “The Devil’s Rejects” not only picks up the story of what happened after “House of 1000 Corpses” (2003), but significantly builds on the director’s nihilistic notion of human behavior, as well as his radical, deep-seated pessimism.

To this end, Zombie breaks the mold of “The Texas Chainsaw Massacre” (1974) and similar films, discarding their atmosphere and tropes, allowing the plot to spill out of the filthy prison-walls of the old house and manifest an external reality that’s even more foul and depressing when all is said and done.

The fundamental message is crystal clear: in a world light years removed from any sort of Manichaeism, it’s entirely plausible that the so-called forces of law and order would become more brutal than the criminal rejects they’re hunting. It’s no surprise then that Zombie depicts dreary scenes filled with pervasive violence, bleakness, and disarray.

The cast is at the top of their game. In particular, Sheri Moon Zombie, stunning as always, is perfect in the role of the psychopathic Baby, while the timeless Sid Haig injects massive doses of theatricality in bringing the mad clown patriarch to life. Leslie Easterbrook replaces Karen Black in the role of Mother Firefly, the sole high-profile change from the original film.

The epic finale set to the music of Lynyrd Skynyrd is exceptional.