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
The film follows Cameron (Steve Railsback), a former Vietnam soldier, who is sought by the police and FBI. He is a street-smart savage and a criminal with unblinking tension in widened, wild eyes. Even motionless, he seems to be running from something. Soon he's on the run from the cops, and finds himself witnessing the shooting of a film. When the scene is over and the director, Eli Cross (Peter O'Toole), descends from the helicopter, the camera is looking at him from down below -- he is at once God and Devil, and he brings with him an air of greatness and unfathomable mystery. Peter O'Toole is brilliant in a role of megalomaniacal film director: He is imperial, bitter-tongued and controlling. He carries his madness in the blue arrogance of his eyes, in the deep wrinkles of his face and sinister sleeves of his black turtleneck. When he is looking down on Cameron from the helicopter's window, he seems to be gazing right into Cameron's soul. They strike a deal and Cameron becomes someone else -- a stunt man, an actor, and a fugitive -- in the movie. If he works it all out, it could mean having one more chance to lose, and Richard Rush exploits the twists and turns of Cameron's adventures with exuberance and unpredictable inventiveness.
Continue reading: The Stunt Man Review
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