Rob Zombie
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Bonnie and Clyde (1967)
Directed by Arthur Penn
influenced The Devil's Rejects (2005), House of 1000 Corpses (2003)
Visuals Themes Plot
And since every over-the-top movie needs a way-over-the-top wind-up, why not rip off the ending of Arthur Penn's "Bonnie and Clyde" — one of the most reverently esteemed movie sequences of the 1960s — and play it for stupid, sloppy laughs?
If the glossy House of 1000 Corpses ’ major point of reference was Tobe Hooper’s Funhouse, the much grungier The Devil’s Rejects thinks a little further back: not just to The Hills Have Eyes , but to bloody westerns like The Wild Bunch and lovers-on-the-lam movies like Bonnie and Clyde.
This is partly the result of Zombie's influences, which include the morally ambiguous thrillers and horror movies from before the age of CGI: the revenge films of Charles Bronson and Clint Eastwood, "Straw Dogs" and most especially "Bonnie and Clyde."
"House of 1000 Corpses" may have been a low-rent "Texas Chainsaw" ripoff, but this sequel has echoes of "The Wild Bunch" and "Bonnie and Clyde" with a soupcon of the Manson gang and Spahn Ranch.
You couldn't call The Devil's Rejects an original work: it's a busy pastiche of influences ranging from The Texas Chainsaw Massacre and Bonnie and Clyde to the 1970s Southern Rock songbook.
Here, the shout-outs are less particular; an era is recalled rather than individual movies (though Last House on the Left and Bonnie and Clyde strongly influence the plot).
Like both " Rosemary’s Baby " and "Suspiria," two of the film's many influences, "The Lords of Salem" follows protagonists who don't understand what's happening to them, though they do know something is very wrong.
I have to admitt, this film is visualy disturbing… and totally agree with Lola V19, I felt the same as back in the seventies, front to ” Suspiria ” by Dario Argento.
This isn't quite as powerful and deeply affecting as "Suspiria," but I'd say it's at least the equal of something like "Inferno," and that's high praise from me.
While decidedly American in folklore, the entire film feels lifted from Suspiria’s cutting room floor.
For the most part audiences are treated to Suspiria-esque nighmare sequences a la Dario Argento.
Fans of Zombie — whose résumé includes “The Devil’s Rejects” and two reworkings of “Halloween” — will want to rush out to see this stylishly lensed work, which references Roman Polanski’s “Rosemary's Baby” and Dario Argento’s “Suspiria,” Others are advised to look elsewhere for fun in the dark.
Spaulding, the name a nod to that of Groucho Marx in "Animal Crackers," is played by big, beak-profiled Sid Haig, whose manic, gonzo presence enlivened many a cheap drive-in flick.
Eraserhead (1977)
Directed by David Lynch
influenced The Lords of Salem (2013), 3 from Hell (2019)
Visuals
Is this a nod to David Lynch 's "Eraserhead"?
It’s a heady thesis, and one Zombie establishes in a number of ways, from his controlled Carpenter/Polanski-esque tracking shots to the evocation of both Kubrick and Lynch, particularly “Eraserhead” and “Eyes Wide Shut,” in the scenes where Moon Zombie’s character is under the spell of the witches.
In one of Zombie’s most inspired moments—recalling David Lynch’s Eraserhead in its execution and somber tone—Baby stares into a grate in her prison cell, only to watch a cat person dance softly, slowly, freely; a key moment of dissociation that summarizes her character choices for the whole picture.
Mr. Z. may love the old movies, but he's mostly remonkeyed some hybrid of a trio of Tobe Hooper movies (The Texas Chainsaw Massacre, Eaten Alive and The Texas Chainsaw Massacre 2) with weird echoes of Dan Aykroyd's misbegotten sole directing effort, Nothing But Trouble.
Her psychic meltdown is believable in a way that recalls Catherine Deneuve’s fractured heroine in Repulsion, and, while the script calls for her to undergo all manner of madness, her performance here is by far the most nuanced she’s ever given.
The Texas Chainsaw Massacre Part 2 (1986)
Directed by Tobe Hooper
influenced House of 1000 Corpses (2003)
Plot
Mr. Z. may love the old movies, but he's mostly remonkeyed some hybrid of a trio of Tobe Hooper movies (The Texas Chainsaw Massacre, Eaten Alive and The Texas Chainsaw Massacre 2) with weird echoes of Dan Aykroyd's misbegotten sole directing effort, Nothing But Trouble.
The Rocky Horror Picture Show (1975)
Directed by Jim Sharman
influenced Halloween II (2009), House of 1000 Corpses (2003), 31 (2016)
Plot
There’s a nice nod (that unfortunately goes nowhere) to Erle C. Kenton’s The Ghost of Frankenstein (1942), and Halloween costumes drawn from Jim Sharman’s The Rocky Horror Picture Show (1975).
Having Laurie and new gal pals Mya (Brea Grant) and Harley (Angela Trimbur) attend a "Phantom Jam" party dressed as personalities from "The Rocky Horror Picture Show" is a neat, inventive touch.
At this point the two couples are waylaid by car trouble in the sticks a la "The Rocky Horror Picture Show," where they wind up at the door of a dilapidated house where they are greeted by Karen Black in a blond wig and a hooker get-up.
His thorough understanding of the genre ensures that fright fans will be kept on their toes by plenty of knowing allusions to other horror films, but the two principal points of reference here are the oddball camp of The Rocky Horror Picture Show and the claustrophobic terror of The Texas Chain Saw Massacre .
Truth be told, it appears that films such as "The Texas Chainsaw Massacre," "Last House on the Left" and yes, even "The Rocky Horror Picture Show" had the greatest influence.
His enclosed, referential universe – here, one scene is a supposedly straight reprise of a comedy cannibal bit from The Rocky Horror Picture Show – is like the circus puppet display that’s the keynote visual of 31: wooden people jerking about repetitively and hacking each other to bits.
Mr. Z. may love the old movies, but he's mostly remonkeyed some hybrid of a trio of Tobe Hooper movies (The Texas Chainsaw Massacre, Eaten Alive and The Texas Chainsaw Massacre 2) with weird echoes of Dan Aykroyd's misbegotten sole directing effort, Nothing But Trouble.
I know him primarily as a horror-movie fan who, I'm told, reads some of the genre magazines I've written for, which makes it not surprising to find assorted clips from The Old Dark House and The Wolf Man and House of Frankenstein in his movie.
Zombie seems to know his horror films -- particularly "The Texas Chainsaw Massacre" and the Universal classics of the 1940s and 1950s, such as "The Wolf Man" and "Creature From the Black Lagoon" -- but he certainly didn't have a clue how to make one.
I know him primarily as a horror-movie fan who, I'm told, reads some of the genre magazines I've written for, which makes it not surprising to find assorted clips from The Old Dark House and The Wolf Man and House of Frankenstein in his movie.
How can someone who grew up on late-night horror double-features not be drawn to a movie that starts with a snowy image on a TV screen of Boris Karloff in James Whale's The Old Dark House intercut with a cheesy horror-show host called Dr. Wolfenstein (Gregg Gibbs)?
Virtual unknown Chris Diamantopoulous, Sean Hayes (2008's " Soul Men "), and Will Sasso (2010's " Life as We Know It ")?as well as child counterparts Skyler Gisondo (2007's " Halloween "), newcomer Lance Chantiles-Wertz, and Robert Capron (2011's " Diary of a Wimpy Kid: Rodrick Rules ")?have perfected the looks and mannerisms of the original Moe, Larry and Curly right down to the most subtle of actions and facial expressions.
In a bid for adoption engineered by Sister Rosemary (Jennifer Hudson, "Sex and the City 2") to only include the trio but which is 'crashed' by young Teddy (Jake Peck), Moe (Skyler Gisondo, 2007's "Halloween") gets the nod (after an 'American Idol' style fakeout from adoptive dad Mr. Harter (Stephen Collins, TV's '7th Heaven')), but when asked what he wants for his 'birthday,' wishes for his two friends.
Blood Feast (1963)
Directed by Herschell Gordon Lewis
influenced House of 1000 Corpses (2003)
Themes
House of 1000 Corpses is a bizarre horror flick by director Rob Zombie that owes a debt to the work of cult director Herschell Gordon Lewis, (the self-styled ‘Wizard of Gore’), particularly the films Blood Feast and 2000 Maniacs.
Longlegs has been widely compared to The Silence of the Lambs (1991), Se7en (1995), and Cure (1997), but it shares an overlooked kinship with Rob Zombie's The Lords of Salem (2012) in that both films, whatever gobbledygook they toss on screen, are slow-burn chronicles of unstoppable Satanic forces.
Writer/director/editor (with David Kashevaroff) Ti West’s (“The House of the Devil”) 1979 set homage is simply the best of its kind since Rob Zombie’s “The Devil’s Rejects.”
It was Roth’s 2005 Hostel that inspired critic David Edelstein to coin the term when writing about how the Americans-being-dismembered-abroad feature and contemporaries like Wolf Creek and The Devil’s Rejects upped their gore factor to unprecedented levels for multiplex movies.
The Texas Chain Saw Massacre (1974)
Directed by Tobe Hooper
influenced House of 1000 Corpses (2003)
Visuals
More Richard Donner's The Goonies than Tobe Hooper's The Texas Chain Saw Massacre, House of 1000 Corpses is a shoestring series of hyperactive camera movements and disjointed images culled from what seems too many films to count, from Bloodsucking Freaks to Near Dark to Maniac to The Serpent and the Rainbow to Halloween to Hellbound: Hellraiser 2 and so on, with no reason except to demonstrate how many horror movies Zombie has seen.
This wretched film is clearly meant to evoke the spirit of '70s shock flicks like Last House on the Left and The Texas Chain Saw Massacre, but Zombie doesn't seem to know a thing about ambience or tension; he revels in excess.
Saw (2004)
Directed by James Wan
influenced 31 (2016), House of 1000 Corpses (2003)
Plot Themes Visuals
Which is basically “The Most Dangerous Game” meets “Saw,” plus elements of Oliver Stone’s “Seizure,” “The Texas Chainsaw Massacre,” and so on.
Like his 2003 first feature House of 1000 Corpses, 31 is especially indebted to Tobe Hooper’s The Texas Chain Saw Massacre and The Funhouse – but the frenzy of homage has worn so thin that it seems less a fond hark-back to the drive-in horrors of the 1970s and the video nasties of the 1980s than a latecoming entry in the torture porn cycle which peaked circa 2007 amid sequels to and imitations of Hostel and Saw.
Because, naturally, we’re supposed to feel inclined to care about what happens to any of them, especially as the film devolves from The Texas Chain Saw Massacre to a garish mix of The Running Man, Saw, Death Race, and The Funhouse.
Rob Zombie edifica, de este modo, un particular parque temático dotado de esa estética sucia y setentera que siempre le ha caracterizado, siguiendo los pasos argumentales de otras ginkanas mortales como las de Perseguido (Paul Michael Glaser, 1987) o la serie Saw, a la vez que toma prestadas (muchas) referencias de otro clásico menor de Tobe Hooper como es La casa de los horrores (1981), aquel slasher ambientado en una feria ambulante.
Between its hyperactive direction and hysterical script and performances, Saw locates itself as somewhere south of Rob Zombie's House of 1000 Corpses and, yep, even the much-maligned FearDotCom.
Whatever the reason for Elwes’s decade-old shunning of the horror market, he’s certainly embraced it full bore with his role in Saw, the sickest, most sadistic fright flick to see a North American theatrical release since Rob Zombie’s House of 1000 Corpses .
And credit Zombie for filling the supporting cast with veterans of other horror films, including Brad Dourif (the "Chucky" series), Dee Wallace ("The Howling," "Cujo"), Ken Foree ("Dawn of the Dead") and Danielle Harris, a veteran of two earlier "Halloween" sequels.