The year is 1979 and the Texas State Police have found the family of sadistic killers now being labeled Devil’s Rejects. After a massive shootout, the remaining gang (Bill Moseley & Sheri Moon) hit the road. Gaining national attention, the Rejects call upon the help of Captain Spaulding (Sid Haig) and create havoc as they go. All the while, Sheriff Wydell (a stringent William Forsythe) slowly crosses the line of the law to catch these monsters. —Joblo.com
Gleefully anarchic, the long-haired heavy metal rocker-cum-slasher-film-director Rob Zombie sustains an instantly recognizable image on par with his musical contemporaries (and friends), Alice Cooper and Ozzy Osbourne. Long fascinated by Charles Manson, gore films, and the occult, Zombie exudes a dark sensibility that has earned him mainstream success as well as a certain cult following in the film world. Founder of the band White Zombie, the rocker made his name behind the camera not only by directing his group’s music videos, but by designing the surreal “head trip” animated sequence in Mike Judge’s Beavis and Butt-Head Do America (1996). His first feature outing came in 2003, with the controversial House of 1000 Corpses, a kind of Texas Chainsaw Massacre update, overloaded with buckets of gore, packed with references to ‘70s and ’80s horror staples, and starring no less than Karen Black. Universal rejected the picture, certain of an NC-17 rating, but Zombie refused to make cuts and… read more
This movie fucks with audience sympathies and preconceptions in a genuinely original way. This is blood-soaked, southern-fried, in-your-face entertainment, both loudly proclaiming its own director's talent and (more quietly) meditating on post-9/11 justice, something the more widely-accepted "Dark Knight" absorbed more credit for, three years later. When "Free Bird" comes on, Zombie reaches cinematic transcendence.
Un grandioso lavoro di Zombie.Mentre nel primo film era stato abbastanza manicheo e splatter, qui cerca di esprimere una notevole critica all'arretratezza di un certo tipo d'America,spesso creatrice di una violenza insana.Tecnicamente ineccepibile con stacchi,piani e campi uniti ad una grande pathos.Il finale è davvero magnifico,con un capolavoro di montaggio e una Free Bird dirompente. Un gioiello di genere.4*
Zombie adheres to an overcharged formalism while sabotaging generic tropes at every corner. This is a savagely troubling film whose representations of violence are almost interchangeably condemning and celebratory. All the mania of its predecessor is intact, but there's much more authority here. Given its degree of hysteria, it is perhaps inevitably flawed, but it proves Zombie to be a serious and skilled filmmaker.
Indulges in new depths of hick-killer grotesquerie, then forces us to accept these characters as people with their own twisted motives and relationships. So well does Zombie develop his abhorrent family that their eventual comeuppance is as tragic as it is well-deserved. Phenomenal.