Sid Haig

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'Hatchet 3' premiere at the Egyptian Theatre

Sid Haig - 'Hatchet 3' premiere at the Egyptian Theatre - Hollywood, CA, United States - Tuesday 11th June 2013

Universal Studios Hollywood 'Halloween Horror Nights' Eyegore Awards - Arrivals

Sid Haig Friday 23rd September 2011 Universal Studios Hollywood 'Halloween Horror Nights' Eyegore Awards - Arrivals Universal City, California

Sid Haig
Sid Haig

Spike TV presents the second annual 'Scream 2007' held at the Greek Theater - Pressroom

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

Danny Trejo, Monica Staggs, Sydney Tamiia Poitier and Sid Haig

Spike TV presents the second annual 'Scream 2007' held at the Greek Theater

Sid Haig - Sid Haig and guest Los Angeles, California - Spike TV presents the second annual 'Scream 2007' held at the Greek Theater Friday 19th October 2007

Sid Haig
Sid Haig
Sid Haig

'Halloween' premiere held at Mann's Chinese Theater - Arrivals

Sid Haig Thursday 23rd August 2007 'Halloween' premiere held at Mann's Chinese Theater - Arrivals Hollywood, California

Sid Haig

The Devil's Rejects Review


Excellent
House of 1000 Corpses, the last song on Rob Zombie's 2001 album The Sinister Urge, also served as the title track to the metal frontman-turned-filmmaker's 2003 directorial debut, but the cut's country twang-inflected ghoulishness would have made a more apt musical accompaniment for Zombie's The Devil's Rejects. Less a sequel than a spiritual follow-up, the director's latest revisits House's serial-killing Firefly clan as they're cast into the backwater dustbowls of rural America by a sheriff (William Forsythe) intent on exacting vigilante revenge for the murder of his brother. A gritty Western-via-grindhouse modern exploitation flick imbued with the ferocity of independent '70s horror, Zombie's splatterfest wisely alters virtually everything (narratively, stylistically, thematically) that characterized his campy, cartoonish and awkward first film. And from its coarse, graphic visual aesthetic, profusion of classic Southern rock tunes, and portrait of unrepentant mayhem, his film reverentially exults in the deranged spirit and impulsive, unpredictable energy of seminal genre masterpieces The Texas Chain Saw Massacre and The Hills Have Eyes.

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

Foxy Brown Review


OK
Pam Grier's most notorious role as the title character in Foxy Brown is a cult classic that's best enjoyed with your tongue firmly in cheek and your political correctness gene locked out in the backyard. Stilted acting, absurd sexual shenanigans, and enough hair and wardrobe changes to keep a dozen costumers busy all combine to create a memorable and quite silly moviegoing experience. Plot is minimal: Foxy is looking for revenge when her boyfriend gets shot. And what Foxy wants, she gets. Meanwhile, we get a "whole lotta woman," and not much else.
Sid Haig

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