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).