A Review Of The Devil’s Rejects- That’s A Better Introduction Than It Deserves

So, William Wyler once said a movie is “eighty percent script and twenty percent you get great actors.” Unfortunately Rob Zombie’s math was a little off when he made The Devil’s Rejects, as he had about eight percent script and two percent competent actors. The other ninety percent is, well, similar to the stuff I put in a can out by the curb once a week.

The homicidal Firefly family, who’s motto would be something like “Murder, it’s not a hobby- it’s a lifestyle,” has finally been corralled by the police. In the firefight, a couple die, but Otis and Baby escape. Those that didn’t make it were the lucky ones- they didn’t have to endure another hour and a half of the movie. The two Fireflys hook up with their dad, murder some people, and are nearly killed themselves. That’s the gist of the thing, anyway.

The one thing I kept asking myself during the movie was: does this scene have anything to do with the plot? The answer was generally: HELL NO! I don’t know if I’ve ever seen a movie before where there was so much indulgence in scenes that neither moved the plot forward or added any new character development. When Otis and Baby hole up in a lonely motel to wait for their dad, rather than laying low, because you know, the cops are looking for them, they instead kidnap the members of a traveling band. Everyone in the group is either tormented, tortured, or murdered, or a combination of the three. There’s no lasting impact from the encounter, no information gained, no consequences suffered. The one person they left alive, upon being discovered, runs out into the road and, in an homage to The Crying Game or possibly Scary Movie, is promptly run over and smeared for about 50 feet. The cops show up, but they don’t learn anything from the crime scene other than the Devil’s Rejects were there, which they already knew, because that was why they showed up.

Rather than continue the breakdown of meaningless scenes, I’ll just end by giving credit to Rob Zombie for two things: he had a decent classic rock soundtrack and he aimed so low with his $5 million budget that simply attaching his name guaranteed a profit.

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