Life is quite sedentary in the small town of Bright Hope, the people rely on the support of Sheriff Franklin Hunt and as such he and his deputies keep things in order. When a beaten up man arrives in the town, he's soon asked many questions by the town Sheriff Hunt though is given few answers. The man who gives his name as Buddy is injured and the local doctors assistant tends to his wounds.
That night the town is attacked by unknown vigilantes and a person is murdered. When Sheriff Hunt returns to the Sheriff station he finds his deputy, the prisoner and Samantha (the doctors assistant) all missing. With few clues to work with, Hunt retrieves an arrow from the crime scene and seeks assistance from a native American who informs him where the arrow has come from.
The Sheriff and a small group of towns folk set out into the desert to find the kidnappers but they're far from prepared to deal with the brutal and cannibalistic methods of the troglodyte clan. For the future of their small town and to save the captures prisoners, the men of Bright Hope must out maneuverer the cannibals.
Danny Trejo, Monica Staggs, Sydney Tamiia Poitier and Sid Haig - Danny Trejo, Monica Staggs, Sydney Tamiia Poitier and Sid Haig Los Angeles, California - Spike TV presents the second annual 'Scream 2007' held at the Greek Theater - Pressroom Friday 19th October 2007
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.
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