She plays Charly, otherwise known as 5. She leads a group of carnies in , kidnapped by a gang of homicidal clowns known as The Heads. The Heads force the carnies to engage in a hour game of survival whereby they must endure a series of mazes, all while being hunted by the clowns. Here, failure means torture and death. Chainsaws are shoved into victims' crotches, heads are severed, and all manner of domestic weaponry are repurposed for maximum savagery.
It's par for the course with Zombie's genre outputs, but here it feels lazy and unfocused. It's nothing he hasn't done better elsewhere. Worse still, the carnies are among the least endearing central quintet seen in some time. Zombie often struggles with developing redeeming characters — though in the horror genre, it doesn't bode well when audiences want the leads dead before the threat even arrives.
A game of "31" sounds more fun than sitting through this again. The third entry in his "Firefly" trilogy, the first being "House of Corpses" and the second being "The Devil's Rejects," is also the weakest.
It's also the first, outside of a three-night engagement through Fathom Events , to not receive a wide theatrical release.
It's something of a mess, a movie with good ideas on the periphery that, for whatever reason, never come into focus long enough for the movie writ large to work. Captain Spaulding is executed, and both Baby and Otis are incarcerated. Otis escapes, murdering several people in the process, and endeavors to free Baby as well.
All the while, the nation is curiously enraptured by the trio for Spoiler, readers -— they are not innocent. Zombie is working in meta territory, and the idea of exploring the repercussions of sensationalizing awful people isn't a bad idea in theory.
It's hard to take it seriously, though, among the iffy acting and senseless violence. When skin is graphically ripped from a face, it's hard to care about the social commentary. There's a theme here. A graphic grindhouse throwback in the vein of "The Texas Chainsaw Massacre," it introduces the Firefly clan, a family of backwoods madmen whose reason for being is murder and slaughter.
A group of travelers are coaxed into the family's den, and over the course of the night, find themselves menaced and murdered by the family. Nearly three years passed between filming and release. It was a mild success, and subsequently spawned the two sequels — and in later years, a house at Universal's Halloween Horror Nights.
While the movie works in fits and spurts, it feels wildly unfocussed, with Zombie using excessive violence to obfuscate the loose threads. Homage itself does not a movie make, and while Zombie's style was just developing, it would take several more movies before he successfully put his best ideas into practice. Rob Zombie's "Halloween" is also not a good movie. The theme persists. The latter half of Zombie's remake is largely a beat-by-beat replica of John Carpenter's seminal slasher, only with the gore quotient turned up tenfold.
During the fast-moving first act, Zombie pulls a terribly frustrating stunt that might have killed this sequel altogether, were it not for the fact that the film as a whole is a great deal of nasty fun, with plenty of memorable set-pieces. It ranks higher on this list than the first remake, thanks to its high octane nature and Zombie all but abandoning established Halloween lore and taking the movie in a direction of his choice, which is more interesting.
He mostly pulls the darn thing off, too. When she receives a wooden box containing a creepy-sounding vinyl record by a band called The Lords, you just know that no good will come from this development.
Sure enough, this record is somehow connected to a coven of witches led by Margaret Morgan Meg Foster , who were burned at the stake years ago. There are also some genuinely creepy and jumpy moments, although sadly the greatest of these turns out to be a dream sequence. Despite its flaws, Lords Of Salem packs in enough fear and visual flair — check out that memorably macabre closing image — to strongly suggest that Rob Zombie could one day create one of the scariest films of all time.
If you want a Zombie film that is pretty straight down the line and enjoyable, while still whipping up gallons of blood and sadism, then this is the movie for you.
The storyline is simplicity itself, and very much a blend of movies like Saw , The Purge and Battle Royale , while also playing like a really savage John Carpenter film that never was, right down to the killer music. In , five carnival workers are abducted and forced to spend 12 hours attempting to survive in a maze populated by psychotic clowns, while a trio of vile voyeurs dressed as French aristocrats fronted by Malcolm McDowell provide the commentary, plus constantly changing odds as to who might survive.
In direct contrast to his Firefly Clan trilogy, Zombie not only seems to care about his five victims, but actually makes each of them kick ass, so as to give them a fighting chance. Unlike the final two entries in our list…. The film was made for the major film company Universal, who shelved it for a while, then ultimately handed it over to Lions Gate for release.
You can see why Universal got the jitters, because this is one dark and subversive piece of work. Steeped in gut-wrenching sadism and backwoods outlaw culture, the film follows Baby, Otis, and Captain Spaulding as they flee from the fuzz and get up to no good until their judgment arrives in a flood of fire and gore. A sunbaked ride to the depths of hell. A triumphant conclusion to one bad, bad trip.
Satan without getting too overly concerned with motive, physics, or competing with the film world at large. Welcome to the murder ride. You should really follow us on Facebook.
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