When I heard that Rob Zombie would be making a third film in the series that began with 2003’s House of 1000 Corpses and 2005’s The Devil’s Rejects, I was pretty surprised. Given that the ending of TDR felt pretty definitive for its characters, and in hindsight is an artistic highpoint for the writer/director, returning to that particular well all those years later seemed curious. With 3 From Hell celebrating its 5th anniversary on August 16th, I figured I’d take a look back.
After miraculously surviving the closing minutes of the previous film, Captain Spaulding (Sid Haig in his final role before passing away), Otis Driftwood (cantankerous Bill Mosely), and Baby Firefly (unhinged Sheri Moon Zombie) receive their sentences in a trial of the century type situation. Spaulding is eventually executed, a necessity forced by Haig’s failing health as he had a much larger role in the original script. However, Otis and Baby rot in prison until the late ‘80s, whereupon their escape is facilitated by their only surviving family member, Foxy Coltrane (Richard Brake, presumably taking up much of Haig’s role in the narrative). After a handful of gruesome and sadistic murders, the trio of sociopaths head down to Mexico and live it up at a small town’s Day of the Dead festival. Unbeknownst to them, they are recognized by Carlos (sleazy Richard Edson) and targeted for revenge by Aquarius (Emilio Rivera). Graphic carnage ensues.
Let’s start off with what doesn’t work for me. The film takes a while to find its footing with the opening fifteen minutes or so being noticeably expository. There are some interesting ideas introduced with the Firefly clan becoming a cause celebre amongst a certain segment of the population, but the thread is pretty much dropped once the killers get out on the road. Furthermore, the film feels a bit like a rehash of the previous film, down to its structure and redneck exploitation Western aesthetic. It also noticeably looks cheaper, with Zombie trying to finesse some magic out of a much smaller budget than The Devil’s Rejects ($3M vs $7M). He’s also unable to conjure the suffocating and merciless atmosphere of the superior previous entry. Additionally, as much as I like Brake, his character is too similar to Mosely’s and is a poor substitute for the wily Spaulding. In the end, though, it just feels unnecessary.
That all being said, I enjoy these characters and so I don’t mind spending more time with them. David Daniel’s cinematography is very reminiscent of Phil Parmet’s work on The Devil’s Rejects, but it’s a look I enjoy. Despite the lower budget, Zombie also throws everything he can into the effort, including garish costumes, graphic violence and nudity, and even a murderous and stylish gang of luchadores. Stacking the minor roles with genre and B movie vets also makes the film feel a little larger than it is. Watch out for Dee Wallace, Clint Howard, Sean Whalen, Austin Stoker, Richard Riehl, Danny Trejo, and Barry Bostwick. The gore is maybe dialed down a bit, but Glen Garland’s editing makes it feel pretty gruesome. The gags with Baby’s bow and arrow are probably my favorites.
I genuinely love Rob Zombie’s The Devil’s Rejects. I find his 3 From Hell to just be solid. It feels more like a love letter to his fans than a creative continuation of the series. I wish he would’ve done something completely different with the tone and aesthetic, as House of 1000 Corpses and TDR feel completely different from each other and have a certain vitality because of that clash. This is total speculation, but I’m guessing this project was Zombie attempting to boost his profile after a series of projects with diminishing budgets and box office returns. Though it’s not my most popular opinion, I find most of his films to be entertaining (The Lords of Salem is highly underrated), but I understand that they will likely continue to be divisive amongst fans. Recommended, with caveats, to fans of the earlier trilogy installments, Spaghetti Westerns, and ‘70s grindhouse flicks.
Michael Cavender