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Rating:
I will not be objective at all. I will praise this film. So if you don't want to read a "biased" review, you can simply close this page and go in search of a more professional judgment of this film.
That said, this is the best thriller since 'Seven'. Far better than its predecessor "House of 1000 Corpses" despite retaining the exact same actors.
Particularly disturbing film. Filled with numerous raw scenes. If violence could be weighed, this film would weigh as much as the Titanic. The casting is spot on. An inspired Sid Haig as Captain Spaulding, Bill Moseley is the sadistic perverse Otis, and Sheri Moon Zombie as the mentally deviant Baby. Brief but intense is the participation of Mattew McGrory as the deformed Tiny, who died shortly after filming due to natural causes at the age of only 35.
The orchestral soundtrack is curated by Tyler Bates. It performs grandiosely in every situation and interacts masterfully between man and environment. Several sung pieces are extracted from old glories like Lynyrd Skynyrd and Terry Reid. 'The Devil’s Rejects' (the original title of the film) might in some way take up the theme of revenge brought to light by Tarantino's 'Kill Bill'.
Unlike the previous chapter, the splatter scenes have been replaced by performances on the edge of decency. Even for Bill Moseley, some parts of the film were difficult to interpret because they were indeed too intense. They reflect absolute evil. It is not about punishments inflicted by horrid beings of mediocre horror films. The evil, in The Devil's Rejects, comes from human beings. An evil so harsh that not even the devil, according to director/singer Rob Zombie, wants to embrace it in hell (hence the title "The Devil’s Rejects").
But this hell is not fought with the revenge of a good man, in this case, played by the formidable William Forsythe alias Sheriff Wydell, but is fought with equally significant violence. To send a devil back to hell, it takes a devil who is even more evil. Sheriff Wydell adheres to the laws of the State, but when he realizes that the only way to defeat evil is to become part of it, in the film spirals of blood and revenge are unleashed that are rarely tasted in other films.
The film represents the ultimate interpretation of "an eye for an eye".
The well-executed attempt to shoot this thriller/horror "on the road," in God-forsaken America, is highly appreciable.
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