The Devil's Rejects

What stands out first about The Devil's Rejects is the confidence with which Rob Zombie establishes its horror film identity. Rather than relying on premise alone, The Devil's Rejects asks Sid Haig and Sheri Moon Zombie to supply personality from the opening stretch. The premise of The Devil's Rejects is established with useful clarity: The murderous, backwoods Firefly family take to the road to escape the vengeful Sheriff Wydell, who is not afraid of being as ruthless as his target. That direct approach lets The Devil's Rejects use its 1h 47m running time for character, atmosphere and consequence.

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The narrative of The Devil's Rejects works from a simple but productive collision between Firefly and Sheriff Wydell. Through Sid Haig, The Devil's Rejects keeps that premise rooted in a reaction the audience can understand. Rob Zombie introduces the central character at a useful point, giving The Devil's Rejects a reason to change pace without abandoning its emotional line. The handling of an important relationship is not equally fresh, yet The Devil's Rejects usually earns attention through clarity rather than surprise alone.

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As director of The Devil's Rejects, Rob Zombie proves alive in individual scenes and uncertain between them in the transitions between intimate material and larger demands. A strong scene in The Devil's Rejects often begins with a modest detail before Rob Zombie lets its meaning expand. For The Devil's Rejects, the cast and craft keep the experience watchable because the central tone remains visible even during busy passages. The weakness in The Devil's Rejects is that too many scenes explain effects the actors have already suggested, although Rob Zombie usually finds the original rhythm again.

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Performance is the clearest human asset in The Devil's Rejects, beginning with the committed centre provided by Sid Haig. Sheri Moon Zombie keeps The Devil's Rejects from settling into one emotional register by approaching the material from another angle. The presence of Bill Moseley gives the surrounding world of The Devil's Rejects additional texture without distracting from the main line. When Rob Zombie holds on a reaction, The Devil's Rejects communicates more efficiently than another explanatory exchange could manage.

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The Devil's Rejects gains much of its identity from patiently built dread, a choice that makes the world readable as well as attractive. The contribution of Lionsgate allows The Devil's Rejects to combine patiently built dread with a consistent visual language. Within its Germany setting, The Devil's Rejects makes particularly good use of carefully rationed sound when the story needs to change scale. Sound and editing preserve the personality of The Devil's Rejects by supporting detail instead of announcing every intended response.

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The Devil's Rejects uses its horror film framework to consider fear, isolation and the moment familiar spaces stop feeling safe. For the character played by Sid Haig, that idea gives The Devil's Rejects stakes beyond the next immediate obstacle. The recurring pressure of Sheriff Wydell prevents the theme in The Devil's Rejects from feeling like decoration added after the story. Rob Zombie makes The Devil's Rejects more thoughtful whenever the implications remain inside action and reaction.

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Overall, The Devil's Rejects amounts to an uneven film with enough personality to remain interesting and should suit horror viewers who prefer atmosphere to constant shocks. The combination of Sid Haig, Rob Zombie and patiently built dread gives The Devil's Rejects a specific identity. Although too many scenes explain effects the actors have already suggested in The Devil's Rejects, the film recovers through craft and committed performance. For the audience it understands, The Devil's Rejects offers enough character to remain worthwhile after the immediate plot has faded.