Shifty Perspectivesīringing me to my second revelation about the possible evolution of Rob Zombie: the shift from identification/perspective from the Killers to the Victims. She survives and fights as opposed to just playing games. But this time around, Sheri has a voice nothing like Baby’s. These days the studio holds the rights to those characters, and you can see why you can’t toss Sid Haig and Bill Moseley into random roles, no matter how well-suited: those three cannot be anywhere near each other without our brains creating a Firefly Family reunion.
Cast of 31 rob zombie movie movie#
So much in the movie made me nostalgic for the Firefly Family, from the van to the costumes to the music to the … well, everything. Chaos, blood and bad assery ensues.Įssentially, it’s like a dirty Hunger Games (let’s pretend I’ve seen/read that and can say it with authority), or any of those other “We’re playing a game, and it’s to watch you get killed.” A big thing right now, but don’t forget Rob and Sheri were playing it way back in House of 1,000 Corpses to celebrate All Hallow’s Eve, and it is a lot more fun with the Zombies at the helm. Antoinette Malcolm and friends are placing bets and releasing clowns. We’ve got a traveling band of carnival/sideshow workers that is ambushed by a group of clowns on Halloween, taken to a remote warehouse/abandoned building, and told via intercom by a very Rococo Malcolm McDowell and his cronies that they have to survive twelve hours against all the shit that is coming at them. Brass tacks, it’s a basic Zombie premise. You can’t knock that.Īlright, alright, so now I’ve talked a lot about plotting, character, and adaptability of story, but haven’t mentioned the Spanish-speaking Nazi midget clown even once. Also, Brian Evenson was the co-writer of the Lords of Salem novel. There are no throwaway characters, no dropped threads. Freedom to arrange reality to better suit the evolving themes and characters. This fluidity in the process, the adaptability to character-driven outcomes and exploration during creation, is one of my favorite things about writing. Satan all along and it was all an elaborate joke. Is this pacing, that leaves time to cry or regroup after a fight, and have side conversations that serve no purpose other than to give characters depth, the reason for mid-way lag in some of his films? As well as his love for fluid, ambiguous endings? (I’m getting ahead of myself, but we’ll jump farther into the movie in just a sec, let me get this out while I’m feeling all deep and insightful.) In the House of 1,000 Corpses director commentary, Zombie speaks of all the alternate ending ideas he had during filming: one being that Grandpa turned out to be Dr. In the next chapter, or next couple of scenes, our cast is more firmly established and a traceable plot is established. To jump back to film, this is almost a lost art that was heavily used in the 1980s ( Back to the Future, anyone?), and I hope is making a comeback. Then comes the opening chapter, or credits, which Zombie always uses quite well to establish setting and give us quick character clues and hint at a plot through-line. The films are mapped, plotted, and created much more like short stories or novels than typical scripts and production.ģ1 opens with an epigraph by Kafka, before moving into a kick-ass black-and-white opening monologue from Richard Blake (you might know him as the Night King from Game of Thrones), that is nothing if not a prologue. There are a couple of interesting things that I noticed, and proved true for this new film as well. Gearing up for 31-which I have followed from cast announcements, pre-production, crowdfunding, all the way through Sundance, limited theater release (nothing within driving distance) to Video on Demand-I gave a little extra thought to how invested I am in Zombie’s films and process. Guarantees, of course, are a blessing and a curse. There will be dirt, blood, and Sheri Moon. There’s an ambience, an aesthetic to his visual work that can be hypnotic …ĭealing specifically with Rob Zombie’s films, there are certain guarantees: a killer Southern Rock soundtrack, 1970s filters, silent 8mm clips, liberal use of slo-mo, gorgeous and multi-layered sets, and fully realized, totally insane and original characters. I’m unsure how I feel about Lords of Salem, and yet I own it and have watched it at least ten times. They make an adorable couple, somehow, and together make cool art.Īlso, I like all of Rob’s films in some capacity. I know they have a young teen daughter, are vegans, and got married on Halloween after thirteen years together. I follow Sheri on Instagram and bought shirts from her short-lived Total Skull clothing line.
My eight-year-old knows all the words to Dragula. Let’s get this out of the way right up front: I am a huge fan of Rob Zombie and Sheri Moon Zombie.
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