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The Devil’s Rejects Is 10 Years Old. Let’s Reflect.

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Ten years ago today, a little film called The Devil’s Rejects was released in theaters, forever changing the way we perceived the Firefly family, the song Free Bird, and Rob Zombie as a filmmaker. While a lot of horror fans will bash Rob Zombie, many of those who enjoy his work regard this film as one of the best since the turn of the century. For me personally, it’s one of my all-time favorites.

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iHorror has been celebrating the film’s 10-year anniversary for the past week with a series of posts. In case you missed any of them, you can find them here:

– Kane Hodder, Eli Roth & Real Corpses: 10 Interesting Pieces of Trivia About The Devil’s Rejects

– 5 Connections Between The Devil’s Rejects And The Texas Chain Saw Massacre Franchise

– The Lighter Side of The Devil’s Rejects (In Memes)

– 10 Characters I’d Like To See Return in a Devil’s Rejects Follow-Up

– Celebrate 10 Years of The Devil’s Rejects By Checking Out This Cool Fan Art

I remember eagerly awaiting the film’s release, keeping close tabs on updates about its production long before I was ever writing for any horror news sites. I was a big fan of House of 1000 Corpses, and everything I heard as Zombie continued to put The Devil’s Rejects together suggested he was going to make a movie that was even better. It would be more of a gritty, violent, almost western-style road movie. I was completely intrigued by the concept, so by the time I sat down in a surprisingly packed theater on opening night, I was very excited.

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It was clear from the very beginning – from the melancholy hum of Blind Willie Johnson – to the opening scene of Tiny dragging a corpse along the ground and the famous shootout, that this was indeed a very different film than House of 1000 Corpses, and quite possibly a much better one. I can’t even describe the rush I got from the opening title sequence set to The Allman Brothers’ Midnight Rider, which instantly turned me into a huge fan of the song despite years of indifference to it. And things only got better from there. The Devil’s Rejects turned out to be 107 minutes of pure delight for this fan waiting for the next great horror film.

Like I said, I was already a big fan of House of 1000 Corpses, but for me, The Devil’s Rejects fixed its biggest flaw. The soundtrack was not comprised of Rob Zombie songs. Musically, House of 1000 Corpses was at its best when it was making use of older songs, such as I Remember You, Now I Wanna Sniff Some Glue, Who’s Gonna Mow Your Grass?, Brick House, and I Wanna Be Loved By You. While I have no problem with the title song or the actual score, the occasional Rob Zombie song tends to give the film more of a Rob Zombie music video feel at times. In The Devil’s Rejects, there’s none of that going on.

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From the filmmaker’s perspective, The Devil’s Rejects was a much better film. House of 1000 Corpses really didn’t turn out the way Zombie had originally planned, but The Devil’s Rejects had pretty much come out just as he envisioned it, and that has to be a gratifying feeling, especially after all the trouble he had getting the former released.

Here’s a snippet of a JoBlo interview with Zombie from the set of The Devil’s Rejects:

It’s sort of like when I first started making music. You have a song in your head and it just takes a while to figure out how to get it from your head on to a record. And in between like that’s not what I had in mind. And that’s the process of getting it from your head to on film. Sometimes it has been astonishing with certain scenes that can be done and go, “This is exactly what I fucking had in mind”. Where has last time I’d go, “Ah well… alright that’s as good as that’s gonna get.” (Laughs)

What do you feel was the success in getting the last film out of you head and on the screen? And how does it compare with this one.

It’s not even close. Truthfully I don’t like to go back. I think everything has its place for what it is. Like a lot of times, I’ll go back and talk about early records and I’ll go “I hate that record.” And someone will go, “Oh that’s my favorite record!” So you never know. I mean, what I see and everyone else sees is different. I never, ever felt like I had the scenes where I wanted at any moment during the last movie. Everything was like I was trying to do this and it ended up here. But this time with time and patience and more time to work with people a lot more pre-production to really fine tune itself what’s going on film is what I wanted where as last time… I can’t even think of one moment where this movie wasn’t exactly what I had in mind.

He would go on to say he thought rejects was an “infinitely better film” and a “far superior movie”.

“Some people can fucking hit a home run on their first time at bat making a movie,” Zombie said in an interview with Grantland. “But I couldn’t.”

He talks more about all of this in this Q&A:

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Even Roger Ebert had praise for this film, and the well-respected critic was pretty hard to please when it came to violent exploitation and horror films. Here’s a bit from his review:

How can I possibly give “The Devil’s Rejects” a favorable review? A kind of heedless zeal transforms its horrors. The movie is not merely disgusting, but has an attitude and a subversive sense of humor. Its actors venture into camp satire, but never seem to know it’s funny; their sincerity gives the jokes a kind of solemn gallows cackle….”The Devil’s Rejects” has been written and directed by Rob Zombie (also known as Robert Cummings and Robert Wolfgang Zombie), a composer and music video producer whose “The House of 1,000 Corpses” (2003) was a “Texas Chainsaw Massacre” wannabe. Pause for a moment to meditate on the phrase “A ‘Texas Chainsaw Massacre’ wannabe,” and you will begin to form some idea of Zombie’s artistic vision. Now give him credit, in this movie, not for transcending “Chainsaw Massacre” but for sidestepping its temptations and opening up a mordantly funny approach to the material. There is actually some good writing and acting going on here, if you can step back from the material enough to see it.

It’s become quite clear in the decade since the film’s release that both it and its predecessor have left a major mark on the horror genre. Just peruse the fan art or search the web for material related the films, and you’ll find a never-ending plethora of contributions from fans. Firefly family cosplay is incredibly popular at horror events, and the films made bonafide stars out of its lead actors. Sure, Haig and Moseley were well regarded names in some circles prior to Zombie’s films, but there’s no question that their status was infinitely elevated by their roles as Captain Spaulding and Otis Driftwood. Sheri Moon Zombie, who was a newcomer at that point, is right along side them in that fame.

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Zombie has mentioned in the past that he had some ideas for another Firefly film, but that the rights lie with an uninterested Lionsgate. Next up, we’ll see 31, which Zombie has said is the other movie of his that is closest in tone to The Devil’s Rejects. We’ll see if he can capture lightning in a bottle again. After that, it looks like he’ll be doing a Groucho Marx movie based on the book called Raised Eyebrows: My Years Inside Groucho’s House.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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