Morrow's theatrical debut and Depp's second film (after A Nightmare on Elm Street), the boys must have thought a little harmless sex comedy would have been a great way to get their careers jumping, or, at the very least, to ogle a breast or two. Well, the latter was successful, but everything else about this production -- which actually features Hector Elizondo as a criminal lothario -- is so ill-advised that it borders on unwatchable.
Continue reading: Private Resort Review
The Devil's Rejects diverges from its predecessor beginning with its opening frames, in which the depiction of the Firefly residence - no longer a remote, forest-shrouded funhouse of horrors but, rather, a dilapidated structure situated in a stretch of open land - speaks to the film's rejection of atmospheric claustrophobia in favor of wide-open anarchy. A fascination with rampant disorder certainly fuels the tour de force intro sequence, a bullet-strewn siege on the Firefly home by Sheriff Wydell (Forsythe) and an army of police officers heightened by Zombie's sly use of freeze frames, Sergio Leone-esque close-ups, and The Allman Brothers' "Midnight Rider." Exhibiting a directorial maturity devoid of his former MTV-ish gimmickry (no hyper-edited montages with varying film stocks or bludgeoning industrial heavy metal here), the director orchestrates the chaotic events with feverish abandon, his shaky handheld camera set-ups and scraggly, sun-bleached cinematography (courtesy of Phil Parmet) placing us directly inside the carnage. By the time murderous siblings Otis (Bill Moseley) and Baby (Sheri Moon) escape their now overrun home to seek shelter in the rotting, blindingly white desert, Zombie has demonstrated a newfound adeptness at lacing nasty action with a breakneck thrust and vicious wit.
Continue reading: The Devil's Rejects Review
No, it is that movie. It embodies the badness-goodness paradox so fully that it spawned six sequels and two TV series (one animated)... so far.
Continue reading: Police Academy Review