Critic Reviews

The cast is full of cool cult actors past and present, and the movie is great at what it does. It's also brutal as hell, and not everyone will have the stomach for it.

A yellow dog of a movie that delights in offending the offendable. It's also a whitesploitation classic, from its menacing sideburns to its demented laughter.

Zombie fills The Devil's Rejects with thrilling setpieces, pays homage to his inspirations without outright ripping them off (most of the time), brings back some cult-movie icons (hello, Mary Woronov and E.G. Daily), and works in some profanely clever dialogue.

For the right audience, this movie is the butt-kicking, dirt-talking, blood-spurting equivalent of beautiful music.

The sadism of "1,000 Corpses" is ameliorated here by the addition of an action plot and open spaces, and the comedy is more skillfully played, mingling agreeably with Zombie's ardor for southern trash culture (the final showdown plays out to the strains of "Freebird," for heaven's sake)

It plays like "Bonnie & Clyde" as made by a committee comprised of George Romero, Sam Peckinpah, Tobe Hooper, Sergio Leone and John Waters -- but Zombie still manages to inject a pervasive flavor all his own.

The year's most viciously entertaining psycho-road-movie-revenge-'n'-wreckage-romance.

If you're not in the mood for "The Texas Chain Saw Massacre" meets "Last House on the Left," stay very far away. Horror fans will find what they're looking for, though.

Here is a gaudy vomitorium of a movie, violent, nauseating and really a pretty good example of its genre. If you are a hardened horror movie fan capable of appreciating skill and wit in the service of the deliberately disgusting, The Devil's Rejects may exercise a certain strange charm.

A tough internal struggle must take place before one can come forward and admit enjoying The Devil's Rejects, a movie so fundamentally horrible that even its creator has to admit he's basically made a 101-minute snuff film.