by Steve Habrat
Rob Zombie could be one of the most polarizing individuals working in the horror industry. The mere mention of his name in a conversation can elicit either groans or praise, depending on that person’s taste in horror. Whether you love him or hate him, it’s undeniable that the man leaves a strong impression. It’s been four years since Zombie’s Halloween II, his reluctant sequel to his grisly 2007 remake of the John Carpenter slasher classic Halloween, and it’s been eight years since he unleashed The Devil’s Rejects, what is considered by many to be his unholy masterpiece. With his creative juices following again, Zombie now gives his fans The Lords of Salem, a static departure from his usual brand of hillbillies-from-Hell horror. Clearly drawing inspiration from early Roman Polanski, Stanley Kubrick, and Kenneth Anger, Zombie makes one of the most ambitious films of his career and you have to hand it to him for attempting to show a bit of range outside of the handheld grittiness that he was limiting himself to. The Lords of Salem is overflowing with overcast atmosphere and it packs plenty of shock scares that thankfully aren’t accompanied by a deafening musical blast, but the final stretch of the film is weakened by a flurry of satanic images that would have seemed more at home in a heavy metal music video rather than a serious-minded horror film about the Salem witch trials.
Heidi LaRoq (played by Sheri Moon Zombie) is a recovering crack addict living in Salem, Massachusetts. She shacks up in a small apartment with her landlady Lacy Doyle (played by Judy Geeson) and she works at a local radio station as a DJ alongside Whitey (played Jeff Daniel Phillips) and Herman (played by Ken Foree). One day, the station’s receptionist presents Heidi with a wooden box that contains a record by a mysterious band called The Lords. Heidi, Whitey, and Herman decide to play the mysterious record on the air, but as the hypnotic music grinds out, Heidi begins to suffer from horrific hallucinations. The music captures the attention of local historian Francis Matthias (played by Bruce Davison), who believes that the music may have a link to a coven of witches that were referred to as The Lords of Salem and hunted by Reverend Jonathan Hawthorne (played by Andrew Prine) in 1696. As the days pass, Heidi’s visions grow more and more disturbing, but things get even more bizarre for Heidi when Lacy’s suspicious two sisters, Megan (played by Patricia Quinn) and Sonny (played by Dee Walace), suddenly arrive at the apartment complex.
Abandoning the bludgeoning violence that he has become known for, Zombie takes a radical new approach to The Lords of Salem. The film begins with a filthy flashback that finds a coven of witches led by Margaret Morgan (played by Meg Foster) huddled around a campfire in the nude and howling about Satan. It’s shrill and graphic, but then Zombie instantly abandons this assault in favor of hushed pacing that hums with evil. The weather is gray, the leaves suggest that it’s October, and the ghostly specters that haunt Heidi slowly make themselves known. The spirits are revealed when Heidi walks slowly past her bathroom or when she flips the light on in a darkened room, but they are not accompanied by some loud soundtrack cue to make us jump. Zombie simply lets their sudden presence alone creep us out and it is very effective. As the film inches along, the hallucinations become more and more severe, one of the most disturbing being a satanic sexual assault in a church that finds a priest coughing up black sludge and Heidi catching a glimpse of a faceless ghoul walking his pet goat through a cemetery. It’s some seriously wicked stuff that is just extreme enough to work.
The biggest change in Zombie’s aesthetic is the use of static cameras in place of the gritty handheld camerawork that House of 1000 Corpses, The Devil’s Rejects, Halloween, and Halloween II all applied. There are crisp outdoors shots that called to mind some of the early moments of The Exorcist and there are prolonged symmetrical shots that wouldn’t seem out of place in a Kubrick film, a director that Zombie heavily admires. At times, the story and even a few shots near the middle of the film were reminiscent of Polanski’s Repulsion and Rosemary’s Baby, especially the inclusion of the three sisters who may be up to no good just down the hall. The end of The Lords of Salem is where Zombie begins to loose his handle on things, as he fires a string of psychedelic satanic images that would make experimental filmmaker Kenneth Anger smile. These acid washed images are loaded with faceless priests clutching dildos, Heidi riding a goat, a demonic dwarf waiting at the top of a grand staircase, a satanic rocker groping the dreadlocked gal, and images of Christ’s face contorting into the face of the devil himself. These images will shock those who are easily offended, but as they unfold before us, they start to resemble a music video rather than anything we would have seen in Anger’s Inauguration of the Pleasure Dome. They complete destroy that atmosphere of doom that Zombie worked so hard to build up but he doesn’t seem to care because he thinks they look great.
As far as the performances go, Zombie manages to capture some downbeat work from a slew of cult actors and actresses. His previous four films were loaded with a cast of colorful psychos who all cursed like sailors and looked like unused extras from The Texas Chain Saw Massacre. This is not necessarily the case for The Lords of Salem, as these characters all seem to be a bit more grounded than anything he has ever come up with. Sheri Moon Zombie steps up her acting game as Heidi, the recovering drug addict that is seemingly on the right path to happiness. Watching her slip into a world of madness is harsh, but Zombie wants it that way. Jeff Daniel Phillips gives a softer performance as Whitey, Heidi’s love interest that just can’t seem to find a way into her life. Ken Foree is laid back cool as Herman, the smooth-talking DJ that really seems to serve no purpose at all to the story. It seems like Zombie included him in the film simply because he is a big fan of Foree’s work. Geeson shows some serious menace as Lacy, Heidi’s secretive landlord, Patricia Quinn is frizzy intensity as the palm-reading Megan, and Dee Wallace’s Sonny is peculiarly seductive. Rounding out the main cast members is Davison’s Francis, a concerned acquaintance who may be too late to save Heidi’s soul, and Meg Foster as the cackling hell spawn Margaret Morgan, who bares rotten fangs right in the viewer’s face.
Despite some of the drastic shifts, The Lords of Salem isn’t without Zombie’s cinematic fingerprints. The soundtrack is filled with classic rock like The Velvet Underground, Mannfred Mann’s Earth Band, and Rush, all which heavily compliment the retro 70s feel of the picture. Budget restraints seem to have prevented Zombie from actually setting the film in the 1970s, but you can tell he desperately wanted to, as every character is dressed like they stepped out of that era. While it is a bit spare, there are several fits of Zombie’s stomach churning violence. A witch licks amniotic fluids off a newborn baby, one character’s head is smashed into hamburger meat, and a gruesome birth accompanies the neon evil at the end. Overall, Zombie has claimed that The Lords of Salem is his final trip into horror and if this is true, it finds him bowing out on a confident and frankly refreshing note. It is a bit more mature even if the final moments give way to strobe light silliness that wouldn’t even shock your grandmother. The Lords of Salem is all about atmosphere and scares that will curl your spine.
The Lords of Salem is available on Blu-ray and DVD.
by Steve Habrat
After Rob Zombie’s cluttered and distracted 2003 horror debut, House of 1000 Corpses, failed to make an impression on critics and (most) audiences, the pressure was on the horror-loving Renaissance man to really step his game up as a filmmaker. In 2005, Zombie followed up the tie-dyed House of 1000 Corpses with The Devil’s Rejects, a grimy, snarling, and absolutely humorless decent into Hell. While many have labeled The Devil’s Rejects a horror film, I really hesitate to slap that label on it, as it never really even attempts to scare the viewer. Instead, it takes a page from the exploitation playbook and just continuously crosses the line and gets right in the viewers face just to watch them recoil in disgust. This film just flat out refuses to play nice, but then again, would you expect anything less from Rob Zombie? As if this tale of murder and revenge wasn’t intense enough, Zombie makes the wise decision to force us to root for the bad guys. That’s right, this time we don’t root for some group of brain dead teenagers or even the revenge driven police officer on a mission from God to prevail over this trio of death. Nope, we are rooting for that vile and downright rotten Firefly clan to blast and stab their way across the dusty Texas plains. It almost becomes a western, with the last of the true outlaws making their final stand in the face of annihilation. It is nearly a stroke of brilliance.
The Devil’s Rejects picks up in May of 1978, a year after the events of House of 1000 Corpses, with Sherriff John Quincy Wydell (Played by William Forsythe), brother of Firefly family victim Lieutenant George Wydell, leading a group of heavily armed police officers right to the Firefly’s front door. After a nasty shootout between the police and the Firefly family, Baby (Played by Sheri Moon Zombie) and Otis Driftwood (Played by Bill Moseley) manage to escape capture, but Mother Firefly (Played this time by Leslie Easterbrook) isn’t so lucky. Baby and Otis quickly get in touch with their father, Captain Spaulding (Played by Sid Haig), who agrees to meet up with his children so that they can plot their next move. While waiting, Baby and Otis find shelter at a rickety roadside motel and to amuse themselves, they immediately take a traveling band hostage. Spaulding suggests that they flee to a local brothel called Charlie’s Frontier Town, which is overseen by smooth-talking pimp Charlie Altamont (Played by Ken Foree) and his simple assistant Clevon (Played by Michael Berryman), both of which are friendly with Spaulding. Meanwhile, the relentlessly brutal Sherriff Wydell is hot on the group’s trail and he plots a trap that will bring down the rest of the Firefly family once and for all.
There is no doubt that the best part of The Devil’s Rejects is the opening fifteen minutes of the film. Zombie starts things off with a gritty early morning shootout and let me tell you, that shootout is just plain awesome. It is cleanly shot, in your face, and suspenseful from the first shot fired. It certainly proves that Zombie could do all-out action if he really wanted to. After wasting one character and capturing another, Zombie launches into an equally cool opening credit sequence set to The Allman Brothers Band “Midnight Rider” all while the picture keeps freezing to announce cast and crew members. It looks like it was ripped out of the coolest exploitation film from the 70s that you never saw. This opening sequence shows us that Zombie really means business this time around and that he is abandoning the psychedelic approach of House of 1000 Corpses in the Texas sun. From here on out, the film is relentlessly intense, but it never really ever becomes scary. There are sequences of gruesome torture, both mental and physical, but they don’t ever fill us with terror. Instead, they just make us massively uncomfortable, but that is exactly what Zombie wants to do.
Much like House of 1000 Corpses, The Devil’s Rejects is overflowing with colorful creeps to make your skin crawl. Moon Zombie is much better this time around as the giggling Baby, who can be all smiles as she seduces her victims one minute, only to snap into a demon-eyed banshee the next. Moseley is busy channeling Charles Manson as the stringy haired hippie killer Otis Driftwood. He is absolutely fantastic and wildly memorable as the grizzled outlaw who enjoys stuffing his gun barrel down the underwear of one poor woman and carving the face off one of another male victim. Then there is Haig’s Captain Spaulding, who once again manages to steal the entire movie. The first time around, we only saw a few glimpses of how sinister Captain Spaulding could be but here, he is 100% evil. He can be darkly hilarious as he terrifies a small child and he can be surprisingly soft as he howls along with Baby for some tutti fruity ice cream. We also have cult legends Ken Foree (Dawn of the Dead) and Michael Berryman (The Hills Have Eyes) as Charlie and Clevon, two shifty pieces of work who enjoy snorting cocaine and bickering about having sex with chickens. Last but certainly not least is William Forsythe as Sheriff Wydell, a stone-cold man of God who may actually be worse than the Firefly clan. He will stop at nothing to trap his victims and when he finally is staring them down, he resorts to some of the nastiest torture out there.
What ultimately turns The Devil’s Rejects into a winner is that Zombie doesn’t appear to be preoccupied with trying to overstuff the film with references to other horror or exploitation films. He is much more subtle this time around with his tips of the cowboy hat. Most of the references here come in the form of cult actors Foree, Berryman, Mary Woronov (Death Race 2000) and even P.J. Soles (Halloween), all of which will have seasoned horror and grindhouse buffs chucking to themselves but never overly distracted. One of my only complaints about the film is the fact that Zombie trimmed the Dr. Satan sequence from the film, something I never thought I’d be complaining about. If you have a copy of the DVD, it is worth checking out this particular deleted scene because it actually grounds the whole Dr. Satan thing in the real world, at least in my humble opinion. Overall, as a tribute to old exploitation thrillers and grindhouse revenge flicks, The Devil’s Rejects is a homerun. It is a twisted and erratic western that can be unbelievably brutal, but never very scary. This is a modern day exploitation classic and a masterpiece for Rob Zombie.
The Devil’s Rejects is available on Blu-ray and DVD.
by Steve Habrat
Way back in the early 2000s, I can distinctly remember several of my friends whispering about shock rocker Rob Zombie directing a horror film that was so scary, the studio was thinking about shelving the project all together. Being someone who liked Rob Zombie’s music and was a fan of horror movies, I was instantly intrigued by just what the horror-obsessed rocker would come up with. Finally the day came when House of 1000 Corpses was released to the public and believe it or not, I never took a trip to the theater to see the movie. I finally saw House of 1000 Corpses during the summer of 2005, right before I went to see Zombie’s second feature film The Devil’s Rejects. I had read the largely negative reviews of film and I had even talked with a few people that had seen it and simply shrugged their shoulders at it, so when I rented the film, I had insanely low expectations as it began. As the film sped through its brief eighty-eight minute runtime, I found myself actually impressed with several segments of House of 1000 Corpses and chuckling at some of the blatant tips of the hat to other classic horror movies (everything from The Creature from the Black Lagoon to The Munsters to The Texas Chain Saw Massacre is in there). It certainly was an inimitable vision from a man who had infinite amounts of potential as a horror/cult filmmaker. It was a blood soaked sampler of all the horror films that Zombie loved, but a number of disjointed moments and cheap jolts kept the film from truly striking fear in the viewer’s heart.
House of 1000 Corpses begins on October 30th, 1977, with four teenagers, Jerry Goldsmith (Played by Chris Hardwick), Bill Hudley (Played by Rainn Wilson), Mary Knowles (Played by Jennifer Jostyn), and Denise Willis (Played by Erin Daniels), traveling the Texas back roads in search of wild roadside attractions and macabre local legends. The group stops off at Captain Spaulding’s Museum of Monsters and Madmen, where the meet the fast-talking Spaulding (Played by Sig Haig) himself. While exploring Spaulding’s funhouse, he sparks the group’s interest in the local legend of Dr. Satan, who is supposedly responsible for the mysterious disappearances of the area. The group suckers Spaulding into giving them directions to the area where Dr. Satan is supposed to reside and while traveling the back roads, they pick up beautiful young hitchhiker Baby (Played by Sheri Moon Zombie), who claims to live nearby. As the group nears Baby’s house, their tire is blown out, forcing them to take shelter at Baby’s rundown farmhouse. Shortly after arriving, the group begins meeting various members of Baby’s family including her mother, Mother Firefly (Played by Karen Black), her half-brothers Rufus (Played by Robert Mukes) and Tiny (Played by Matthew McGrory), her adopted brother Otis Driftwood (Played by Bill Moseley), and her Grampa Hugo Firefly (Played by Dennis Fimple), all of whom are gearing up for creepy Halloween festivities. As the hours pass, the group begins to fear that they may not be permitted to leave the Firefly home alive.
It really won’t take the viewer long to figure out that Zombie has lifted the plot from The Texas Chain Saw Massacre and then fed it a heavy dose of LSD. After the acid has kicked in, it feels like Zombie pried its eyes open with the device from A Clockwork Orange and forced it to zone out on endless hours of Universal’s classic monster movies, episodes of The Munsters, forgotten television horror hosts, and stock footage of seedy peep shows and the Manson family. It then spirals into a kaleidoscope of warped images and repulsive shocks that hint at other, better midnight exploitation movies, B-horror cheapies, and real-life serial killers. You could honestly fill a review with all the movies that Zombie pays tribute to. Yet there is something strangely admirable about how Zombie wears these influences on his sleeve. It’s clear that he absolutely loves these movies, he just has a hard time funneling all of these references into one cohesive idea. Instead, he just shoots all over the place, eager to spring redneck funhouse shocks on us while also unleashing a group of underground ghouls that look like they would be more at home on stage with him during a rock show rather than a scruffy horror outing. It really should have been one way or the other.
What has really lured the cult audiences to House of 1000 Corpses are the eccentric cast of creeps drawn up by Mr. Zombie. By far the best character in the entire film is Haig’s Captain Spaulding, a cackling madman clown who never seems to be at a loss for words. A word to the wise, never get the idea to hold up his flashing little roadside attraction. Another classic character would have to be Moseley’s Otis Driftwood, a foul-mouthed hillbilly maniac who takes charge of every situation and dispatches his victims in the most brutal ways imaginable. Together, Haig and Moseley ride off into the Texas sunset with the entire picture. Karen Black will make you uncomfortable as the dotting Mother Firefly, a woman who stands firm behind her Halloween traditions. Sheri Moon Zombie’s Baby will have you gritting your teeth as she chuckles like a deranged schoolgirl. You can tell that Moon Zombie is pretty inexperienced here and that she has a lot of growing to do as an actress. Meanwhile, Wilson and Hardwick are likable enough as Jerry and Bill, but Hardwick (yes, THAT Chris Hardwick) ends up falling into the amateur category when going up against the infinitely more talented Wilson (yes, THAT Dwight Schrute). Jostyn and Daniels are pretty forgettable as heroines Mary and Denise and weirdly, Zombie asks us to root for Daniels in the final twenty minutes. Tom Towles (Henry: Portrait of a Serial Killer, Night of the Living Dead (1990)) also memorably shows up in a small role as Lieutenant George Wydell.
I honestly don’t think that House of 1000 Corpses is a terrible horror movie. It really isn’t. It just isn’t nearly as scary as it was hyped up to be and it tries to pay tribute to way too many horror movies. It almost feels like Zombie feared he would never have the opportunity to make another film so he overstuffs it. The film would honestly have fared better if someone had convinced Zombie to drop the whole Dr. Satan thing and leave the mutant monsters on the cutting room floor. I won’t deny that they look really cool but it just doesn’t mesh with the rest of the film. However, there are enough spirited performances, quotable lines of dialogue, and eerie surprises (that cop-execution sequence really stands out) to balance out the weaker spots. Overall, Zombie has a vivid imagination and it truly is a start for him, but you just can’t shake the feeling that Zombie is much, much better than all of this. Either way, you won’t ever forget entering the House of 1000 Corpses.
House of 1000 Corpses is available on Blu-ray and DVD.
by Steve Habrat
While Rob Zombie tried his damndest to put his own fresh spin on the Halloween series while also staying true to the original story in his 2007 remake, you could tell that Zombie was on a short leash. It felt like he was holding something back, whatever that something was. Initially, Zombie swore he would not make a sequel to his remake but after the studio threatened to make a sequel without him, he agreed to slip back into the director’s chair to prevent someone else from desecrating his vision. Personally, I felt his vision was complete and that it really didn’t need a sequel but you know how Hollywood is. Apparently, they wanted to ignore the period he placed on the end of his film. In 2009, Zombie unleashed the deranged funhouse Halloween II, a meaner, bloodier, and busier follow-up that has to rank as one of the most unusual slasher horror films I have ever seen. Even more hit or miss than his 2007 reboot, Zombie attempts to mix exploitation gore, surreal black and white horror, and Michael Myers together and the results are… interesting. Halloween II finds Zombie off his leash and fully embracing that something that he was holding back. That something, it turns out, is full on brutality and countless nods to the classic horror that inspires him.
Picking up just moments after the first film ended, Laurie Strode (Played by Scout Taylor-Compton) is found wandering the streets of Haddonfield with a gun in her hand. Badly injured and in severe shock, Laurie is taken to the emergency room where her wounds are cleaned and mended through ear splitting cries for her family and friends. A year passes and Laurie, now a punk rock rebel who suffers from horrific dreams, is under the care of Sheriff Lee Brackett (Played by Brad Dourif) and shacking up with fellow survivor Annie (Played by Danielle Harris). As Halloween approaches, Laurie’s dreams begin to hint that Michael Myers (Played by Tyler Mane) may not be dead at all. Fueling Laurie’s fears is the fact that the authorities never found a body. Meanwhile, Michael has been searching for his long, lost sister and finding encouragement from the apparition of his deceased mother (Played by Sheri Moon Zombie). To make matters worse, Dr. Samuel Loomis (Played by Malcolm McDowell), who is no longer the good doctor he once was, is capitalizing on the massacre that ripped the small town apart.
While Halloween II has been panned by critics and dismissed by fans as being one of the worst films in the Halloween series, I have to say that I actually found the film fairly entertaining even if it is gleefully repulsive and slightly unfocused. I will agree that the plotline of the film is a mess and that things don’t tie up like Zombie wants them to but the film has such a striking visual approach that it was easy for me to dismiss many of the flaws. I loved the gothic, dreamlike sequences that Zombie uses to cut up his grainy, foul-mouthed slasher exercise. I actually found them to be quite spooky and glaringly Zombie, something that was severely lacking in the 2007 remake. I also really liked the look of Michael in this film. Minus a pair of bloodstained coveralls and half a mask, Michael is filthy dirty and proud of it. Another new touch is Michael’s loud grunts as he brutally stabs to death countless more victims who bump into him. It certainly is a new take on the character and it does deviate from what we have become used to but that is why I like it. While I still prefer silent, coverall-clad Mikey, this one still makes my skin crawl in a good way.
As far as Scout Taylor-Compton goes, her Laurie has undergone a strange shift in character since we last saw her. No longer as buttoned up as she was in the remake, the dark side hinted at has been unleashed and boy, is she grungy. Her shift is unusual, there is no doubt about it, but I feel like Zombie could have found another way to convey that she has embraced more of a darker side after her encounter with Michael. She hangs out with a duo of punk rock chicks that work in a local record shop but these friends are left severely undeveloped and only there to meet the sharp end of Michael’s knife. If you think Laurie’s shift in character is out of left field, wait until you get a load of Loomis. Acting like an arrogant jerk, Loomis is a hot shot flirt who makes big money off of ugly tragedy and it is the complete opposite of what we saw in the first film. I hardly believe that Loomis would have such a drastic shift in his character after getting beaten up by Michael but I guess anything is possible. Dourif is still great as Sheriff Brackett and Danielle Harris works hard as the still-shaky fellow survivor Annie. Sheri Moon Zombie is also back as Michael’s ghostly mother, who encourages her son’s killing spree from the other side. It honestly feels like a way for Zombie to work his wife into the mix but her presence does give Halloween II the unique feel it possesses. Just like Halloween, Zombie throws in a number of B-horror fan favorites including Margot Kidder, ‘Weird Al’ Yankovic, and Richard Riehle.
Throughout Halloween II, Zombie also applies the psychological ‘White Horse’ theory, which he defines at the beginning of the film and then spends the next two hours cramming it down our throats. While I admire Zombie’s attempt to give the film a little psychological depth, he just goes overboard trying to convince us the film is smart. The film does have a seriously eerie opening sequence set in the quiet halls of a hospital while The Moody Blues moan in the background. It superbly pays tribute to the original Halloween II while also working double time to set itself apart from that film. The hospital sequence also features an awesome cameo from Octavia Spencer, who dies extra gruesomely. Steeped in bloody, tie-dyed visuals and unashamed to wear its inspiration on its sleeve, Halloween II comes out just ahead of its predecessor as far as I’m concerned. It feels more original and, dare I say, much more personal than the first film. I personally feel that this film solidifies Zombie’s place on the list of directors to pay close attention to. As he sharpens his skills as a filmmaker, I feel like he will really come up with something that is stunning visually and truly imaginative in the story department. All he needs to do is scale back on the repulsive dialogue and slow down. You can’t quite shake the feeling that Halloween II was rushed and that Zombie was under a lot of pressure to get this thing out. Overall, it certainly isn’t perfect but it is fun to see Zombie set himself apart from the formulaic pack.
Halloween II is available on Blu-ray and DVD.
by Steve Habrat
I think everyone remembers where they were when they learned that there was going to be a remake of John Carpenter’s 1978 flawless horror classic Halloween. I remember I was at my best friends house playing around on his laptop when we happened upon the news. We were in shock, unable to process the fact that there was going to be a remake of one of the scariest films of all time. While half not surprised that Hollywood was going to tinker with a great thing, it still made me sick to my stomach because I figured they would hand the film over to some John Doe director who would screw it up royally. My anger turned to intrigue when I learned that the film was being written, produced, and directed by shock rocker turned filmmaker Rob Zombie. Rob Zombie! While I was a fan of the 2005 splatter flick The Devil’s Rejects, I was so-so with his day-glow Texas Chain Saw Massacre wannabe House of 1000 Corpses. Well, opening weekend came and me and my chums piled into a car and headed to the local theater to check out Zombie’s remake and I must say, we were all fairly impressed with what we saw. Just as nasty, mean, and brutal as I figured it would be, Zombie’s Halloween was actually a surprisingly eerie slasher film that was equally parts new and familiar at the same time, striking just the right balance. It also helps that Zombie populated his dingy remake with a slew of familiar B-horror faces that would make most gore hounds grin from ear to ear. But the most astonishing thing of all remains the fact that the film isn’t nearly as bad as it could have been. Whew!
Halloween 2007 introduces us to young Michael Myers (Played by Daeg Faerch), a ruthlessly bullied boy who already suffers from deranged tendencies. Michael shacks up with his stripper mother Deborah (Played by Sheri Moon Zombie), her deadbeat boyfriend Ronnie (Played by William Forsythe), his older sister Judith (Played by Hanna R. Hall), and his baby sister, only finding affection from his loving mother. On Halloween night, Michael finally snaps from his relentless torment and brutally murders a school bully, Ronnie, Judith, and Judith’s boyfriend Steve. With no recollection of the murders, Michael is taken into custody and sent to Smith’s Grove Sanitarium where is put under the care of kindly Dr. Samuel Loomis (Played by Malcolm McDowell). As the years pass, Michael becomes more and more fixated on papier-mâché masks that he makes in his cell. Dr. Loomis begins to suspect that Michael uses the masks to hide from both himself and the world. Fifteen years pass and Michael (Played by Tyler Mane), now a hulking adult, has stopped speaking to everyone. On the night before Halloween, Michael escapes from his cell and begins making his way back to Haddonfield to find his baby sister, now named Laurie Strode (Played by Scout-Taylor Compton). As Dr. Loomis rushes to contact the authorities, the body count rises as Michael ruthlessly searches for the only person he loves.
The argument has been made that Zombie misunderstood what made the original Halloween such a terrifying experience. It was the fact that we didn’t know anything about Michael or why he is killing anyone who crosses his path. Over the years, he has become known as the “Shape,” the Boogieman walking among us in complete silence. With Halloween 2007, Zombie is forced to dive into Michael’s background and in the process; he explains literally every single aspect of the character. We learn why he wears that legendary mask, what made him snap, that he demonstrated psychotic behavior before he went on his killing spree, and that he is pretty close with that old Dr. Loomis. All of this is complimented with heaping amounts of gore and profane dialogue that does get a bit ludicrous at times. Trust me, I’m no prude but at points you can’t help but picture Zombie hunched over a computer straining to think of the most repulsive dialogue he can. He certainly succeeds. Even though Zombie explains everything, I argue that he had no choice but to explain away the character. What else was he going to do? Hardcore Halloween fans would have grumbled if he would have done a shot for shot remake and thankfully, he didn’t resort to that. I give Zombie credit for daring to try something new with the character and taking a peak behind that legendary mask rather than doing what has already been done. I can certainly say that he does make Halloween his own to an extent because he leaves the ending relatively the same.
The acting of Halloween 2007 ends up being a mixed trick or treat bag of sugary sweets and bitter sours. Sheri Moon Zombie is better at the big-hearted mommy than I ever thought she’d be. She is sort of hit or miss with me but here she proves that she possesses some dramatic depth even if she is forced to spit out cliché lines of dialogue. I really enjoyed her bickering and fighting with Forsythe’s abusive boyfriend Ronnie. He was a real piece of work but he doesn’t stick around long. Faerch is so-so as little Michael, a little too forced but he is creepy when he finally slips into madness. Tyler Mane plays Michael Myers exactly how you would expect him to. He cocks his head from side to side but he stabs, hacks, and slashes just a little more violently than he did in the 1978 original. McDowell was a welcome presence as Dr. Loomis, an interesting choice to play Michael’s psychiatrist. McDowell gives it his all and he comes out with the best performance in the film. Then there is Scout Taylor-Compton as the slightly annoying Laurie Strode, a buttoned up teen with a dark edge according the skulls on her black hoodie. There isn’t really anything that particularly stands out about her and that is precisely her problem. She does prove to audiences that she is a hell of a screamer and her cries of terror could wake the dead. Kristina Klebe and Danielle Harris are on board as Lynda and Annie, Laurie’s friends who lack the fizzy magnetism that they had in the original film but they provide a little eye candy. Brad Dourif is second to McDowell as the skeptical Sheriff Lee Brackett and boy, does he come close to stealing the film from the good doctor. For fans of B-horror, keep a look for cameos from Ken Foree, Udo Kier, Danny Trejo, Clint Howard, Sid Haig, and Sybil Danning, to name a few.
Zombie also makes the wise choice of including the iconic Halloween score, sped up and layered with a few more electronics by Tyler Bates. He adds a few new little synthesizer warbles here and there while paying tribute to the little electronic jolts that Carpenter threw into his film. Zombie applies (unsurprisingly) a grainy and aged look to the film with costumes and sets that are reminiscent of the late 70’s and early 80’s with a gloss of modern caked on. Where the original Halloween sees little to no gore at all throughout its runtime, Zombie brings buckets full of blood and guts to his hillbillies-from-Hell party. I will warn you that the film is exceptionally brutal and grotesque so be prepared and plan accordingly. While I do feel Zombie’s exhausting explanations do take away from some of the horror, I still have to give him credit for staying true to the original film’s story while also daring to add on a fairly engaging prequel. Is the film perfect? Oh no, it certainly isn’t. If someone asked me if I wanted to watch Zombie’s film or Carpenter’s, I’d go with Carpenter’s classic in a heartbeat. Overall, Halloween 2007 could have been much worse but it actually turns out to be a pretty entertaining slasher film with a filthy, razor-sharp edge. I’ll take this ugly beast any day over most other tired and hollow remakes.
Halloween 2007 is available on Blu-ray and DVD.