Taking his cue from such Seventies horror classics as The Texas Chainsaw Massacre (1974) and The Hills Have Eyes, animated rocker Rob Zombie goes celluloid with the throwback shocker House of one thousand Corpses. Running low on gasoline as they journey the highways of America in search of the last roadside attraction, a collection of young adults pull into Captain Spaulding’s museum of oddities which also offers fried hen and gasoline only to become passionate about uncovering the mystery of a legendary nearby maniac known only as Dr. Satan. When an attractive and mysterious hitchhiker eventually offers to offer the thrill seekers a personal excursion of Dr. Satan’s vintage stabbing grounds, a breakdown forces them to take shelter with a group of menacing oddballs as a fearsome typhoon rages outside.
As the night progresses and the backwoods hosts’ Halloween festivities become ever more threatening, the teenagers soon recognize that the legend of Dr. Satan may preserve a chunk more contemporary weight than any of them had formerly thought.
It was once that rock stars desired to embarrass themselves through acting in films, but Rob Zombie of metal band White Zombie here takes ambition a step further by directing and writing a homage to the ’70s horror films he loves a tad too much. No scene in his debut feature is without some forgotten face of Z-cinema (Sid Haig of Spider Baby, Bill Moseley of Texas Chainsaw Massacre 2, Karen Black) and the Deja-vu feeling of the whole kids-get-off-the-main-road-and-into-psycho-trouble is down to the reality that this is almost an identikit of Zombie’s favorite films, with cuts from his document series laid over them. Like children sticking to the main roads in movies, audiences could be much higher off sticking to the supply material.
In this sort of situation that screams tragedy for our victim, Baby’s speak and actions make it a grim entertainment for the viewer. She and us are conscious that not only does this guy have a slim threat of guessing the right answer, but that she would more than likely now not let him go anyway if he became right.
The viewer acknowledges the ridiculousness of the situation, yet, still has to sit with how uncomfortable the actions are.
We see more factors like this in a while when any other victim is calling Otis where her boyfriend is. We then get a flashback of Otis and Baby laughing on the boyfriend’s rate as he is being reduce up. Otis then pulls back a nearby curtain to reveal that no longer simplest is the boyfriend dead, but his body waist down has been changed with a fish tail. Nicknaming him “Fishboy”, he laughs hysterically as the lady friend screams and cries. We recognize that this violence is horrific, but the manner the scene performs out is pretty goofy. This humor encourages you to chuckle at the moment, however then you also sense gross for doing so.