In 2003, rocker Rob Zombie released one of the greatest horror films of all time, HOUSE OF 1000 CORPSES, on an unsuspecting public who, after being weaned for the past five years on Teen People horror-lite films like Scream, I Know What You Did Last Summer, etc., were shocked at this brutally depraved sojourn into the depths of horrific madness. A stylistic quasi-tribute to low-budget ‘70’s hell-billy shockers like THE TEXAS CHAINSAW MASSACRE and MOTEL HELL, HOUSE OF 1000 CORPSES was a beautiful return to true horror filmmaking with the most original characters to splatter across the screen since Freddy Kruger appeared back in ’84. 

The sequel, subtitled a “tale of murder, mayhem and revenge” is just that and more. Picking up right where the first left of, the backwoods Firefly clan are being raided by the cops for the murder of a local sheriff and a busload of cheerleaders, most of which are seen hanging on meathooks throughout the house. The only two of the family to escape are brother and sister Otis (Bill Moseley, also known as Chop-Top from TEXAS CHAINSAW MASSACRE 2) and Baby (the incredibly hot Sheri Moon Zombie). They immediately stab an old lady in the heart for her car, and after kidnapping, raping and butchering some traveling country music musicians, they meet up with their dear old dad, the demonically hilarious Capt. Spaulding (‘70’s exploitation legend Sid Haig), who, in his nightmarish clown makes up, tosses off redneck one liners as fast as he’ll slit your throat.

With the equally bloodthirsty Sheriff Wydell (a powerful William Forsythe), on their tail, they hole up at Spaulding’s brother Charlie Altamont’s (Original Dawn of the Dead vet Ken Foree) whorehouse where all hell breaks loose. Torrents of blood and gore splash and spray as the family gets more and more desperate to elude Wydell.

First off, the cast. Bill Mosely. Sid Haig. Ken Foree—it reads like a “Legends of Horror” role call at the Fangoria Weekend of Horrors convention. To see them on the screen again is incredible in it’s self, but you also realize what great actors they are as well, enveloping themselves into the characters in a way that suspension of disbelief is no longer necessary. And look at the list of cameos: Michael Berryman, PJ Soles, Mary Woronov, Steve Railsback—it’s a blast to see them. And let’s not forget Sheri Moon Zombie as Baby, as hot as she is scary.

Director Rob Zombie, in totally revamping the look and feel of this sequel—he loses the humor and goes for the jugular, creating a gritty, blood-caked road film that looks like it came right from the grindhouse circuit—has done something most directors only wish: he’s made a sequel that’s better than the original.

THE DEVIL’S REJECTS is one of the top five films of the year and I say that without a hint of irony.