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Halloween 2017: Devil’s Night Double Feature – The Crow and House Of 1000 Corpses

  • DailyDead
[To get you into the spooky spirit, the Daily Dead team is spotlighting double features that we think would be fun to watch this Halloween season. Check here for more double feature recommendations and other Halloween 2017 coverage.]

In horror movies, things usually go so very wrong on October 31st when it comes to the Halloween-themed offerings of the genre. But what about the night before? October 30th, or “Devil’s Night”, can also bring about its own horrific consequences, which is the theme I went with when it came time to put together my double feature of Alex ProyasThe Crow and Rob Zombie’s House of 1000 Corpses. Both are coincidentally feature film debuts for each director, they feature killer soundtracks, and this pair of films is also centered around a storyline where the characters will never be the same after their experiences on the night before Halloween.

Based on the comic by James O'Barr, The Crow finds aspiring rock star Eric Draven (Brandon Lee) rising from the grave a year after his death to take revenge on the four thugs (David Patrick Kelly, Angel David,
See full article at DailyDead »

Rob Zombie Is Bringing ‘The Devil’s Rejects’ Back From the Dead, Possibly as a Prequel

  • Indiewire
Rob Zombie Is Bringing ‘The Devil’s Rejects’ Back From the Dead, Possibly as a Prequel
The Devil’s Rejects aren’t exactly living up to their name, as Rob Zombie plans to continue their story. Bloody Disgusting has confirmed that the horror-inclined filmmaker will make a trilogy of the saga that began with “House of 1000 Corpses,” Zombie’s directorial debut; how he plans to do that remains a mystery, as (spoiler alert) “The Devil’s Rejects” ended with the eponymous clan of killers dead.

Read More:Rob Zombie Q&A: The ’31’ Director on America’s Clown Obsession, ‘Stranger Things,’ and John Carpenter’s Friendship

Bd notes that, “while we don’t know any of the story details, we’re expecting it to be another spinoff or possibly a prequel, being that the Firefly family is presumed dead.” In the 12 years since “Rejects” was released, Zombie has directed two “Halloween” movies, “The Lords of Salem,” and last year’s “31.”

Read More:John Carpenter Trashes Rob Zombie
See full article at Indiewire »

DVD Review – House of 1000 Corpses (2003)

House of 1000 Corpses, 2003.

Directed by Rob Zombie.

Starring Sid Haig, Bill Moseley, Sheri Moon, Karen Black, Tom Towles, Walton Goggins, Matthew McGrory, Rainn Wilson, Erin Daniels, and Dennis Fimple.

Synopsis:

Four young thrill-seekers exploring the backwoods of Texas become the victims of a family of sadistic killers.

With his latest movie 31 recently dividing audiences with its back-to-basics approach, crowdfunded production and the director’s seeming refusal to put out an uncensored cut, Fabulous Films have gone back to the beginning of controversial director/metal icon Rob Zombie’s filmmaking career and reissued his debut feature House of 1000 Corpses on DVD (why is there still no Blu-ray release for the UK?) and what an interesting exercise it is revisiting this offbeat little gem.

Interesting because there are many parallels between this movie and 31 – troubled production and director’s cuts notwithstanding, there are also plenty of narrative similarities – but whereas 31 felt rushed,
See full article at Flickeringmyth »

Thn HalloweenFest Day 14: House Of 1000 Corpses

‘Goddamn, motherfucker got blood all over my best clown suit!’

Director: Rob Zombie

Cast: Sid Haig, Karen Black, Bill Moseley, Sheri Moon Zombie, Dennis Fimple, Matthew McGrory, Robert Allen Mukes

Plot: Two teenage couples are traveling across Texas the night before Halloween, when they encounter a sadistic family of serial killers.

Zombie’s directorial debut adopts a familiar premise, but the story is focused primarily on the antagonists, and he creates such morbidly fascinating, humorous characters, that you cannot help but fully embrace them. He also wrote the screenplay, and composed the majority of the soundtrack, which adds yet another layer of zombifying insanity into the mix, further smothering the viewer with his depraved and unique style.

Captain Spaulding (Haig) and Otis B. Driftwood (Moseley), who are two of the main offending characters (as though this wasn’t evident from their eccentric names alone), are particularly voracious in their demeanour,
See full article at The Hollywood News »

Some things are better left on the page

Daniel Wallace writes exclusively for Pure Movies on how his novel was adapted to become Big Fish, directed by Tim Burton and starring Ewan McGregor, Albert Finney, Billy Crudup, Jessica Lange, Helena Bonham Carter, Alison Lohman, Robert Guillaume, Marion Cotillard and Matthew McGrory. It had never been an ambition of mine to see one of my novels become a movie: after years of trying, and failing, to write even a pretty good fiction, all I wanted was a book I could be proud of. Before Big Fish, I’d written four novels and two short story collections. Some of the stories were published on their own but nothing I was ever able to assemble as a book length manuscript was very good, no matter what I thought about it at the time. Luckily, no one else thought they were very good either, and none of these books were ever published.
See full article at Pure Movies »

MoreHorror March Movie Request Month: The Devil's Rejects

by Mike Pickle, MoreHorror.com

Well, MoreHorror Hounds; March is request month. This week's review request was one that I was more than pleased to honor. Rob Zombie's modern Horror classic The Devil's Rejects. When I first watched The Devil's Rejects years ago I thought it was one of the most starkly brutal films I had ever seen. I've always liked it, but it seemed like violence for the sake of violence. Now that this type of realistic brutality is more common; I recognize beauty in the carnage. I can see the many layers that make this a relevant piece of Horror cinema history. The Devil's Rejects is a film that defies convention. You would think that, in a time when everything has been done, films that take chances like this would be more prominent, but they're not.

Many horror filmmakers are tied down to age-old clichés trying to
See full article at MoreHorror »

Big Fish

Big Fish
Opens

Wednesday, Dec. 10


"Big Fish" is a misfire. The film that wants to be lighter than air instead crashes to earth with the swiftness of a concrete parachute. Director Tim Burton, whose early career displayed a dazzling gift for the surreal, is in a slump. Yet whatever one thought of his two most recent pictures, "Planet of the Apes" or "Sleepy Hollow", nothing will prepare his admirers for this belabored oddity that is one long-winded tall tale illustrated with hammy, artificial sets and gee-whiz acting.

It's hard to think what audience "Big Fish" might attract once the opening weekend is over. The circus performers and fantasy elements may delight youngsters, but older moviegoers will be put off by the clumsiness in the film's style and tone.

The source material, Daniel Wallace's novel "Big Fish, A Story of Mythic Proportions," concerns a charismatic Southern gentleman who, in his stories of the past, has transformed his life into an almost Homeric odyssey through a fablelike world. While there is a kernel of truth in every tale, these adventure stories become the means by which this slippery and now aging man can hold intimacy at bay: All his life, Edward Bloom (played with fine bluster by Albert Finney) has used whimsy and jocular charm to keep people at a distance.

Burton and screenwriter John August try to visualize this literary conceit by intertwining Edward's tall tales about his adventures as a young man (played by Ewan McGregor) with the efforts of Bloom's journalist son Will (Billy Crudup) to establish the facts of his dad's life. Having wearied of the outlandish stories and tired of operating in the shadows of his gregarious father, Will has married a French woman (Marion Cotillard) and fled to Paris, where he works for the AP. Summoned home to reconcile with his now dying father by his loving and tolerant mother, Sandra (Jessica Lange), Will means to separate myth from reality once and for all.

For a while, the absurdist imagery in Edward's tales tickle the fancy: A storm maroons a car in a tree. A pale nude figure of a woman drifts in the moonlight above a river. A large fish swallows Edward's gold wedding band. Edward stumbles across an isolated town no one ever leaves.

The characters also intrigue initially: There is a giant named Karl (Matthew McGrory) who proves to be shy and gentle, a circus ringmaster (Danny DeVito) who turns into a werewolf, conjoined Korean lounge singers who join Edward in his travels and a witch Helena Bonham Carter) who has a glass eye that foretells how Edward will die.

But these stories never get beyond their surreal imagery. They stand in isolation from the storyteller and his family as denials of reality spurred by no particular condition or circumstances.

What is even more curious in the movie version, when Will does investigate these stories -- he merely narrates his dad's stories in the novel -- Burton and August seem reluctant to let go of these folk tales. The isolated town really does exist, only it has fallen on hard times. Many characters are real, only exaggerated.

By insisting on the literal reality of Edward's inventions -- as opposed to the gross exaggerations of an overactive imagination -- the movie undermines its own theme of a teller of tale tales who relates truth through fiction.

As the fatally ill storyteller, Finney gets to chew the scenery but pins down few character specifics. As warm and accepting wives, Lange and Cotillard smile prettily but do little else. Crudup is burdened with a cantankerous character forever fussing and fuming about his father's failures as a father. As the young man seen in mythic flashbacks, McGregor gets to stare in wide-eyed wonder at the fabulous adventures, but his is mostly a reactive role.

Production design and costumes lack the ingenuity of Burton's previous forays into colorful imaginary worlds. Sets in particular look a little too much like movie sets.

BIG FISH

Columbia Pictures

A Jinks/Cohen Co./Zanuck Co. production

Credits:

Director: Tim Burton

Screenwriter: John August

Based on a novel by: Daniel Wallace

Producers: Bruce Cohen, Dan Jinks, Richard D. Zanuck

Executive producer: Arne Schmidt

Director of photography: Philippe Rousselot

Production designer: Dennis Gassner

Music: Danny Elfman

Costume designer: Colleen Atwood

Editors: Chris Lebenzon

Cast:

Young Edward Bloom: Ewan McGregor

Old Edward Bloom: Albert Finney

William Bloom: Billy Crudup

Sandy Bloom: Jessica Lange

Young Sandy: Alison Lohman

Jenny/Witch: Helena Bonham Carter

Norther Winslow: Steve Buscemi

Amos Calloway: Danny DeVito

Dr. Bennett: Robert Guillaume

Josephine: Marion Cotillard

Karl the Giant: Matthew McGrory

Running time -- 120 minutes

MPAA rating: PG-13

House of 1000 Corpses

House of 1000 Corpses
Opened

Friday, April 11


Having lingered in major-studio limbo for the past three years (a rare instance of corporate wisdom), this cheesy and ultragory exploitation horror flick is finally seeing the light of day thanks, or no thanks, to Lions Gate.

An homage to horror flicks in general and '70s-era slasher movies in particular, "House of 1000 Corpses" lives up to the spirit but not the quality of its inspirations. Indeed, the only truly scary thing throughout the nearly 90 minutes of bloody torture and mayhem is the onscreen phrase, "A Rob Zombie film".

Yes, it's that Rob Zombie, and it's obvious that the singer -- who wrote and directed this debut effort -- has applied a dementedly loving touch to the proceedings, which are staged with such a lavish attention to decrepit detail that it's no surprise that the enterprise began as a horror display for a theme park. Indeed, far more care has been given to the supremely gruesome props and decor on display than the plot, which is little more than incoherent.

For the information of those who might care, the story, set on Halloween eve in 1977, has something to do with a group of four young cross-country travelers who fall prey to a family of mutant psychos. Their first troubling encounter, and the film's most entertaining segment, takes place at Museum of Monsters and Madmen, a roadside emporium run by the demented Capt. Spaulding (Sid Haig), not the only figure here named after a Groucho Marx character.

The group decides to set out in search of a local landmark: the tree where one of the town's most infamous madmen was hanged. They encounter comely blonde hitchhiker Baby (Sheri Moon), who leads them to a house inhabited by Mother Firefly (Karen Black) and her family of murderous loony tunes, including the grotesque Otis (Bill Moseley), the licentious Grampa Hugo (Dennis Fimple) and the hulking Tiny (Matthew McGrory). General mayhem and torture ensues, filmed with a loving and gleeful attention to entrails-strewn detail by Mr. Zombie, who, strangely enough, is far more decorous here when it comes to sex.

Actually, the gruesome content of the film -- not so far removed from many other exploitation horror flicks -- is less troubling than the general incompetence of the filmmaking. While the proceedings are embellished with a number of stylistic effects, including sudden changes of film stock and various other photographic tricks, the only effective moments are provided by the quick clips of several vintage horror films, the viewing of any of which would be preferable. The end results are almost strangely devoid of thrills, shocks or horror, other than the sight of not one but two former Oscar nominees (Black and Michael J. Pollard) reduced to such a pitiable career state.

House of 1000 Corpses

Lions Gate Films

A Rob Zombie film

Credits:

Director-screenwriter: Rob Zombie

Producer: Andy Gould

Executive producers: Andy Given, Guy Oseary

Directors of photography: Tom Richmond, Alex Poppas

Editors: Kathryn Himoff, Robert K Lambert

Original music: Rob Zombie, Scott Humphrey

Art director: Michael Krantz

Cast:

Capt Spaulding: Sid Haig

Otis: Bill Moseley

Baby: Sheri Moon

Mother Firefly: Karen Black

Jerry Goldsmith: Chris Hardwick

Denise Willis: Erin Daniels

Mary Knowles: Jennifer Jostyn

Bill Hudley: Rainn Wilson

Steve Naish: Walter Goggins

Running time -- 88 minutes

MPAA rating: R

See also

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