Rob Zombie Rejects the Same Ol', Same Ol'

Puncuated with (occassionally) pithy gallows humor, sudden bouts of grim violence, and numerous pop-culture references (and surprisingly scored by some of the softer sounds of the 70's), Rejects entertains, but can't seem to find its focus. Not so much a narrative film as a loose collection of scenes featuring recurring characters (believe us, there's a difference), the movie oftens leaves the audience fidgeting and waiting for something, anything, to happen. Short scenes of intense action are followed by ambling driving sequences, silly family squabbles, and at least one needlessly long coversation that will make Phillyist shudder the next time they lay eyes on a chicken. Zombie tells this tale at his leisure - going so far as to include a scene that spends 1% of its time providing salient plot information, and the other 99% ridiculing the fine institution that is the Film Critic. (And let me assure you, Mr. Zombie, you have cut our feelings to the quick.)

Still, for all its flaws, there is something tremendously compelling about watching these surreally believable characters interact as the story unfolds, almost accidentally, around them. Zombie and his cast manage to humanize the killers without glamourizing or idolizing them (although, as is usually the case, the guy with the gun always has the best lines) or making the victims the villains. Even the violence, although grisly, rarely seems gratuitous. It's gross, mind you - Rejects is not for those of a more delicate nature - but most of the violence was actually pertinent to the story (which is about serial killers, after all). With a bit more practice, Zombie might really get the hang of this whole movie-making business.

Phillyist isn't sure we can recommend this film, but only because we're not certain quite who it would appeal to. We liked it well enough, but when you come right down to it, we're pretty weird.