There are killers, witches, and an animated musical all thanks to the musician-turned-filmmaker.
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For Rob Zombie, there are no subtleties. In his films, human monsters take precedence over the victims, and violence and ugliness abound. Isn’t that just right for the horror genre, with its emphasis on direct confrontation? Psychological slow burns are for everyone. But there’s room for Zombie’s style, where you don’t know how far he’ll go until you sit down. Some of his films may be your favorite, while others may be your least favorite. These feelings may even influence how we ranked Zombie’s filmography.
9. Werewolf Women of the S.S.
Rob Zombie’s “lost movie,” which is really just a trailer, is just that: a trailer. That, too, was deliberate. Grindhouse filmmakers Robert Rodriguez and Quentin Tarantino gave Zombie the task of reviving the exploitation films of the 1970s with their double feature. Zombie was one of the filmmakers hired by Rodriguez and Tarantino to assist construct false movie trailers to play before each picture, and he did an excellent job.
German actor Udo Kier appeared as an enraged Nazi with a S.S. embroidered handkerchief in the trailer’s first five minutes. In addition to that, there’s a cameo appearance by Nicolas Cage as Fu Manchu, sans yellowface, but with an Asian accent. At the very least, it was a good fit for the theme of exploitation.
8. 3 From Hell
After escaping from prison, the Firefly family sets out on a bloody rampage for a final time before returning to prison.
After 10 minutes of grainy “archival” material, it becomes clear that this is a completely different film in Zombie’s Firefly trilogy all the way up to its western-themed finale.. With only two members of the Firefly family in the novel, it misses the impetus of Zombie’s previous two entries in the trilogy, which were filled with colorful, horrible monsters.
There isn’t much explanation for how Baby (Sheri Moon Zombie), Otis Driftwood (Bill Moseley) and Captain Spaulding (Sid Haig) escaped their position, despite the relatively limiting ending of the previous film. A feature-length epilogue is included in this add-on, which is mostly for the benefit of fans. Not all of the best parts of prior films were ripped from by 3 From Hell. Terrible people commit terrible things in Zombie’s universe. Is it possible for a franchise like this to cover so much ground? Not much, and although the trio had some depth and pathos before, here they’re just a psychotic family.
For obvious reasons, Haig, a fan favorite as Captain Spaulding, is confined to a cameo appearance. While he was in declining health, the actor died in the same month as the release of the film 3 from Hell. Sheri Moon Zombie and Bill Moseley still offer their insane energy, despite the fact that this wasn’t Haig’s best farewell.
In a game of life or death, carnival workers are forced to compete against a horde of murderous clowns for twelve hours to see who can last the longest.
Forget about the gradual burn here; the savagery never lets up. Malcolm McDowell, Judy Geeson, and Jane Carr star as aristocratic overseers and announcers for Zombie’s wild clan of three. They are the most intriguing and scary part of this novel, but they aren’t explored nearly enough. Heavy make-up and tall wigs quickly give them more personality than the bunch of unwilling game participants.
To satisfy the ever-growing legion of Zombie fans, the director has cast Richard Brake as Doom-Head, one of his most notoriously deranged creations. Because Brake’s gaze is so wide and wild, you may suppose he has no eyelids at all. To the very end, set to Aerosmith’s “Dream On,” he remains a serious threat. Zombies are big fans of 1970s music being overlaid over dramatic scenes. Though his earlier films have generally been a success, this one isn’t one of them.
When Michael Myers breaks out of a mental facility, he descends on Haddonfield and terrorizes the town.
Immediately following Halloween: Resurrection’s disappointing box office and fan reception, the October-themed franchise entered a state of utter squalor. It was decided that the slate would be wiped clean as time went on. Director Rob Zombie was brought on board to “reimagine” the slasher classic, and his gritty style was expected to do just that.
Tyler Mane, a retired professional wrestler, plays the role of Michael Myers, a humanized boogeyman who is large and massive. Some may think that humanizing Myers to such an extreme degree was excessive, while others may have appreciated the more realistic approach taken with the character. Having been born into an abusive household, he went on to become an even more brutal killer, imparting his trauma to the victims of Haddonfield in the form of murder.
In contrast to Jamie Lee Curtis’ original portrayal of Laurie Strode, who was a lot more stereotypical adolescent, this version’s Laurie Strode is a pretty normal, everyday teenager. When it comes to Laurie, actress Scout Taylor-character Compton’s is both lovely and arrogant. I don’t think she’s a character trope; she’s actually a real person. Then there’s Dr. Loomis, whose part could have been carried in many different directions if Malcolm McDowell had been cast in the role, which is a tragedy. Iconic music is pulsing in the background. The assassinations are graphic and meet the criteria set by 2007’s moviegoers. Even with the additional additions, Halloween still felt like a rehash of the 1978 original, for better or worse.
5. The Haunted World Of El Superbeasto
It’s a mission to stop Dr. Satan from marrying a devilish stripper with a birthmark.
The Rob Zombie film you’ve probably never seen. This raucous, animated musical may bring back memories of The Ren & Stimpy Show, but it’s not the only homage Zombie is making. From The Creature from the Black Lagoon to Alien, and many more, the filmmaker reveals his admiration for great horror films.
With El Superbeasto plowing into Michael Myers, Zombie didn’t hold back in expressing his displeasure with the mixed reaction to his Halloween remake. In this world Zombie imagined as a Gothic setting, ghosts making love in the graveyards are all too common. The animated world he creates is a mixture of imagination and wish fulfillment, and the excitement he must have felt in making it come to life is contagious.
4. The Devil’s Rejects
In order to get away from a vengeful sheriff, a relative of a previous victim, the Fireflys hit the road.
The Devil’s Rejects throws the audience for a loop right out of the gate, radically altering the course of the story. In other words, this isn’t your run-of-the-mill sequel. It appears to be a savage road movie. In the first film of the Firefly trilogy, the horrors occurred at night, but now, daytime is dangerous.
One of the film’s most horrific imagery, one of many, shows a victim fleeing from the family of killers after being trapped. Even if she is hurriedly rushing, the skin of a loved one is bound and snug on her face. An whole new tone has been introduced. In contrast to the previous film in the trilogy, this one depicts the killers in a more realistic light. There is a chance that they could be real.
Only Lynyrd Skynyrd’s “Free Bird” is heard as the Firefly family commits one final act of violence against a barrier of cops in The Devil’s Rejects. Zombie makes you worry about their well-being while also making you happy about their demise. It’d have been a fitting finale to the story if this been the final chapter.
3. Halloween 2
Struggling to come to terms with Michael’s killing spree, Laurie Strode has no idea he’s plotting a reconciliation with his family.
It was Halloween 2, not the remake, where Zombie put his distinctive stamp on the Halloween saga and began to shake things up for fans. To top it all off, the film revealed what Michael Myers does in the days preceding up to Halloween, which included more than just grunting and storming at his victims. Zombie answered the question. Homeless and haunted by visions of his long-dead mother and an ethereal white horse, Michael Myers leads a lonely existence.
Then there’s Taylor-Laurie Compton’s and McDowell’s Dr. Loomis portrayals. For the first time, Zombie completely transforms the classic horror icons into his own creations. As a result, Laurie has grown more reclusive, irate and explosive. The events shown in the last film have given Loomis more real crime fame than he can handle. It’s alright if these characters don’t look anything like the ones the public is used to seeing. What was the point of bringing Zombie back if he was just going to rehash the 1981 sequel?
Both the story and its characters are severely deranged. With his own unique take on the Halloween canon, Zombie offered something fresh. It may have been a little too different for those who went to the movies. The director’s edit, on the other hand, is a far superior film that the one shown in theaters. Perhaps Halloween 2 was the right finish for the series, despite the fact that a third film was never made.
2. House of 1,000 Corpses
The Firefly family terrorizes a group of friends who stumble onto a roadside attraction.
There was no way to top the original in this trilogy: The Devil’s Rejects and 3 from Hell tried, but failed. Because of Zombie’s utter craziness, this film succeeds. The notion on its own is enough to pique my interest: In a haunted attraction when you feel threatened, true emotions are elicited by the experience. Nevertheless, it is Zombie’s ability to go even further with his idea that makes the film genuinely memorable.
If Alice in Wonderland’s fever-dream elements were combined with the slasher and body horror genres, perhaps this mixture would be formed. It’s a horror picture like no other, with some of the most loathsome monsters ever seen on the big screen. Sid Haig, Bill Moseley, Sheri Moon Zombie and many more are clearly having a great time, and you can’t help but join in on the fun. A Zombie film has a strange relationship with its audience.
1. The Lords of Salem
When her Salem radio station is charmed by a mystery song from the past, a DJ’s life becomes a literal misery.
Any Zombie movie is incomplete without Sheri Moon Zombie. She is given a considerably smaller and less prominent role in this film. In a good way, because this is a story geared toward more experienced actors. When it comes to that, the film really shines.. History author Bruce Davison plays an amateur sleuth trying to uncover the mystery of modern-day Salem’s oddity. He is well-versed in the history of the town’s witchcraft, which was made obvious in this film. You’d almost root for him if you were in his shoes. Zombie’s films have always been about the villains, not the heroes, and his vision on demonic witchcraft is once again anchored by a formidable trio of actors.
Together, Cujo’s Dee Wallace, Judy Geeson, and Patricia Quinn create a powerful team. Almost as if they were taken from Macbeth and reworked to match Zombie’s own aesthetic. It’s a great asset to the film. These three helped push the idea that witches in the horror genre ought to return to their gothic and deadly roots. Warmth and quirkiness are only two of the sisters’ many traits. When they have to kill, they won’t take a second to think about it.
As a signature Zombie film, would the conclusion not be a music video gone wrong? For a number of his films, the soundtrack is a major component. In addition, the record used in the film has a distinctly spooky sound to it. This could be one of Rob Zombie’s cleanest pictures, as he was given complete creative control over the project. It’s both alarming and darkly amusing at the same time.