Original PG-13, directed by a comedian horror with timely and relevant social commentary>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>Rob Zombie
i fucking love rob zombie. i feel like he speaks directly to me. there's something about his work that challenges me, challenges how i feel about violence, challenges how i feel about human behavior. this is to say nothing of his beautiful camera movement, and the way he composes a scene, both with his actors, but also with his very unique and hands on production design. he has a pleasant sense of anarchy, but also a gentle and loving touch; he's clearly got a lot to say about the nature of family, and the way we support--and fail--each other. for me, there is truth in zombie's movies, and a delightful "human beings are worthless pieces of shit" nihilism that really resonates. i like his dialogue, i like the way his characters behave. i like his use of music, i like that people in his movies smoke cigarettes, i like his costant oblique blade runner references, i love his use of beloved character actors and horror people, i like the way that sheri is his muse. i'm not trying to change anyone's mind or make a counter argument, i'm just saying why i love him, and why i've enjoyed each of his movies immensely, though the first halloween is his weakest.
A lot to say about the nature of family? I've heard Rob talking about his movies quite a bit, and honestly I don't think he is remotely interested in some intellectual pursuit. He's driven by his influences, by making "cool" exploitation films that he loves which are in line with his overall brand. And like, that's fine, but let's not kid ourselves into thinking there's much more going on than that. All he knows is nihilism. He's the kind of retard that thinks Charles Manson is a fascinating man. When you have that narrow a view of the world it's impossible for all of your films to not feel one-note. Even something like Lords of Salem, which was supposed to be a departure from that aesthetic, was still dominated by foul-mouthed, wise-cracking Mansonites who looked like they just got dragged from a dumpster. So what's the problem with someone having a grimey aesthetic and nihilism which runs through all of their body of work? Well, there wouldn't be if there was something to counterbalance that. Some evidence that he could do anything but, even if it's just one single character who isn't a despicable piece of shit. But you don't get that in Rob's films, even the characters he wants you to root for are disgusting arseholes and are all one-in-the-same.
I have a similar relationship with Tarantino (who Rob has riffed on more than once) in that in the majority of his work he only has one voice and is seemingly incapable of writing characters that aren't Tarantino and talk the way he talks. Now we know that he can, because... Jackie Brown is proof of that. Where is the evidence for Rob?
Also, what happened to the guy who said he was done with horror and wanted to make films with wider appeal? Obviously wasn't cut out for it, and so he went back to peddling the same old shit he knew his fanbase would eat up.
It's just a tower slider at a carnival, The Beatles, or Paul specifically, just wanted to make a load, rowdy, chaotic sound. Manson thought it was a message to him. How, why, dunno
Seems like RZ is looking for depth in the shallow end of the pool. It's not a compliment, but I'm not trying to make an insult either. You can do a lot with a small or simple concept, can even get a fair amount of meaning from it, but it's not gonna be some deep secret no one's ever realized before kind of insight.
This thread has become full blown hysterical. I think the greatest trick Rob managed to pull was convincing anyone at all he was some kind of master auteur. I mean the guy rips a bit of Hooper here, sprinkles a little Carpenter there, really hammers in some Marcus Nispel on the top layer and all of a sudden he's this inimitable tour de force just because he put in a white horse and a midget with hook hands and called it symbolism.
I love this.
Join the Official "Book of Shadows: Blair Witch 2 is Superior to the Original" Fan Club today! For the low price of: Stop lying to yourselves and admit it you cowards!
There's some Tarantino in his writing too. Overlaced with profanity, the mix of humor and violence, the lengthy tangential monologues, the stylized antiheroes. I mean, think of something like the movie expert scene in Rejects... that is QT all over.
I wouldn't dispute that Rob is an auteur though. You can cite influences but there's a clear distinction between homage and ripoff. Rob has always had his own style in everything he does, you hear a RZ song, you know it's him. You see a RZ film, you know it's him.
But just because he's an auteur doesn't mean he's any good...
Yes, he is an auteur because he can make his films his way, hence why he no longer plays with the studios and has gone the crowdfunding route. Doesn't mean his films are good because they're clearly not.
for me, the scene that best exemplifies rob's work is in halloween 2 when laurie finds annie dying naked in the bathroom. on its' surface, laurie weeps while holding annie's naked, bloody body while annie dies. laurie suddenly lays down all of her anger that she's been directing at annie the entire movie, and it gives way to unbearable sadness and grief, made more so because she knows she's been treating annie shitty the whole movie, her best friend, her sister. i love this scene because it's at once savage and horrifying, and also deeply tender and sad. in this moment, rob amalgamates his extreme violence with his obvious heartfelt exploration of family and connection. to me, that's what his movies are about, about connections, about relationships, about changing emotions. and yes, his cruel nihilism--made more effective in the face of his tender familial explorations--is another thing i love about rob, and i feel like he and i are really connecting over being angry vegetarians. fuck people. fuck souls. fuck the value of human life. we're all just meat, weak, easily punctured, soft. that's how we treat our food, how do we like it when the tables are turned and we mean nothing?
i get why folks don't dig on his work, but my god i find him to be bracing and meaningful, with a philosophy that speaks to my own. he has a motherfucking point of view, which alone counts for a lot, and i happen to share a lot of it. i mean thank god we have someone who is committed to horror, and who does right by it, like him or not.
Comments
He's so fucking one note and that note has been played to death.
i'm extremely excited for 3 from hell.
It was the cow...
And if that's our bar now then lol
tutti-fuckin fruity. tutti-fickin fruity, indeed.
I have a similar relationship with Tarantino (who Rob has riffed on more than once) in that in the majority of his work he only has one voice and is seemingly incapable of writing characters that aren't Tarantino and talk the way he talks. Now we know that he can, because... Jackie Brown is proof of that. Where is the evidence for Rob?
Also, what happened to the guy who said he was done with horror and wanted to make films with wider appeal? Obviously wasn't cut out for it, and so he went back to peddling the same old shit he knew his fanbase would eat up.
It's just a tower slider at a carnival, The Beatles, or Paul specifically, just wanted to make a load, rowdy, chaotic sound. Manson thought it was a message to him. How, why, dunno
Seems like RZ is looking for depth in the shallow end of the pool. It's not a compliment, but I'm not trying to make an insult either. You can do a lot with a small or simple concept, can even get a fair amount of meaning from it, but it's not gonna be some deep secret no one's ever realized before kind of insight.
It was the cow...
The family thing is undeniable. Doesn't have to be deep or intellectual, it's there and it's great.
Lol @ your shit about not being cut out for it
I love this.
I see Hooper, I see some Carpenter depending on the work, and any Nispel comparison would be happenstance.
That it? Keep going. Gonna need a lot more than that.
I wouldn't dispute that Rob is an auteur though. You can cite influences but there's a clear distinction between homage and ripoff. Rob has always had his own style in everything he does, you hear a RZ song, you know it's him. You see a RZ film, you know it's him.
But just because he's an auteur doesn't mean he's any good...
He rips off everyone.
And they aren't good. They're great.
i get why folks don't dig on his work, but my god i find him to be bracing and meaningful, with a philosophy that speaks to my own. he has a motherfucking point of view, which alone counts for a lot, and i happen to share a lot of it. i mean thank god we have someone who is committed to horror, and who does right by it, like him or not.