A massive improvement over its predecessor. Although completely impossible to defend on a moral level, and for most the part a disgusting film, it manages to be extremely watchable. Zombie gets rid of over the top supernatural elements and keeps it grounded in the real world despite the barbaric characters. Great humour, great soundtrack, and manages to keep you wanting to follow these group of disgusting humans.
This movie made me feel dirty. It's effective. But it made me feel like an accomplice who's with these scuzzballs on their nihilistic rampage across Hicksville, USA. It does its job a little too well. I feel like it was me and not Otis who pistol-raped Teri from THREE'S COMPANY and now Ralph Furley's gonna come after me from beyond the grave. Damn you, Zombie!
My favorite horror film. Raises some insight into extreme ignorance. In spirit, the Fireflys are fun-loving, and respectfully righteous, though they wreak havoc everywhere they go.... while their antagonist has every right in the world to exact his vengeance, that vengeance is more harmful to the big picture than their havoc.
Movie's all like "Okay, you liberal humanists all snug in your sweatervests and illusions of moral clarity, so you believe there's a basic dignity to all human life, well what about the lives of mass-murdering psychopaths? What's that? No? Fucking hypocrites. FREE BIRD YEAH."
This movie plays with the word "violence" in a way that doesn't celebrate or condem it. The movie is there to show you all the faces of this particular action. Revenge, sadism, non of those are actually the right choice. The thing with this one is just that, I don't like the characters, 'cause duh, they are evil. The scenes with the random "happy family moments", don't touch me. But, It's a different kind of film.
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.
Damn. Zombie's really the king of humanism, challenging any and everyone's idea of loving others, showing us the mean as fuck white trash we can make fun of at the beginning, and then torturing them to the edge of hell. Zombie asks us to have sympathy for the worsts. If we can't do that, we aren't real humanists.
I spent the first hour hating these people, all of them. I watched in complete horror as the Rejects committed atrocities that have a Haneke "Funny Games" quality, as the victims are so hauntingly portrayed. I began to sympathize with the obsessed cop out of hate for them. Then, somehow, in the second act, Zombie manages to humanize the evil bastards as well. It creeps up on you, and it's subtle. So very well played.
Upon a rewatch I dislike anyone referring to this film as torture porn. Like it or not Zombie has an odd affinity for characters and archs that's pretty impressive, with Wydell becoming a monster like the 'Rejects' being the real heart of the film. There's also plenty of moments that hint at Zombie's genuine fondness for cinema as seen in the film critic scene. Must see, for me at least.