Tag Archives: Rob Zombie

BLOG: YTC_Hollyweird: Episode XXVII: Seasons Greetings

Follow me on Twitter: @You_Total_Cult.

In the short term, the YTC podcast can currently be found at http://www.chrisandphilpresent.co.uk/blogs/youtotalcult/


The blog below was under an older name of Hollyweird. I have kept the numbering the same so that I could keep track of my posts, but this is where it all begin back in the heyday of 2012…


http://youtotalcult.co.uk/wp-content/uploads/2012/12/Poss-final-blog-photo-dream-framev9.5.jpg Hello to you Sirs and Madams. Should you be regular readers then you are in for a treat. In a rare moment of calculation, I am writing this entry as a direct follow up to my most recent bog about sequels (http://www.chrisandphilpresent.co.uk/blogs/hollyweird/hollyweird-episode-xxvi-hollyweird-2-electric-boogaloo/).

In fact ,this is the sequel to that very blog if you will. The very observational statement of such connectivity is making me stroke my chin hair smugly in appreciation.

Hollyweird Episode 26 detailed films that I would consider to be underrated sequels. This topic is going now to be continued even though this individual selection only exists as a sequel in the loosest possible sense. In fact if the movie in question had have actually been a huge success then its bold stance on sequels would have eliminated a further five piss- poor rip offs of a classic, as well as a further two atrocious remakes. Indeed the world was nearly spared from a total of seven craptacluar movies in the Halloween via the cruelly neglected Halloween III: Season of the Witch.


Halloween III: Season of the Witch may as well be called just ‘Season Of The Witch’. It actually has nothing to do with the previous two Halloween films which were based around the killing sprees of a certain Canadian comic’s namesake, Michael Myers.

Both of the previous, Myers-based Slasher Halloween films had been huge financial successes. However the writer-director of both of these films, John Carpenter, decided that enough was enough. Thus to escape getting roped into a third movie, Carpenter ensured that he killed off the character of Myers in a fire. Instead Carpenter and his Producer/Wife, Debra Hill envisioned a complete ‘u-turn’ for any further films in the Halloween-series.

I don’t know who drew this, but I likes it!

Carpenter and Hill advised Universal Studios that the franchise name could still exist, but that the very title of ‘Halloween’ could be changed to represent an anthology of movies. Each year a new, stand alone horror film could be made using this banner name.

Ideally then the studio would keep their franchise, whilst audiences would get a unique type of terror on annual basis from emerging new film makers.

With the studio in agreement for the plan, both Hill and Carpenter became producers on the third Halloween film. They supported the hiring of old colleague and friend, Tommy Lee Wallace. Wallace was the Production Designer and Editor on Halloween, as well as a collaborator on Carpenter’s other films, Dark Star and The Fog. Thus the lineage of Halloween behind the scenes was set to continue, even if Michael Myers and his Carving Knife were never going to feature in the film.

This is not Tommy Lee Wallace. But he did direct It.
This is not Tommy Lee Wallace. But he did direct It.

By 1982 Universal was now in agreement with the Carpenter’s proposed plan. They agreed to make a film titled ‘Halloween III’ that would exist as a different type of film altogether from the first two films. Well they sure couldn’t have gotten much more different!

Forget the prior use of an escaped lunatic who chases kids. Halloween III: Season of the Witch involves killer robots, Stonehenge, evil curses, an Irish madman and a middle aged protagonist who is arguably more of a scum bag than an actual hero. Allow me to elaborate by breaking down Halloween III’s plot. danger

Season Of The Witch begins with a mysterious stranger being chased by a few more mysterious strangers. (In fact this is all a bit of an oxymoron- all strangers must be somewhat mysterious. Otherwise they would just be ‘known familiars’). At any rate, these strangers are all dressed in business suits. The chased man is clutching a rubber mask tightly as he collapses inside a Gas Station. He keeps repeating ”They’re going to kill us!”. Still that’s yuppies for you- always wanting more. It’s not enough that they hound a man. They want to kill him too.

You’d think they could afford better ingredients

The exhausted stranger is driven to the hospital by a clerk at the gas station. He is soon admitted to the hospital under the care of Dr. Challis. Challis is played by the grizzled character actor, Tom Atkins. Atkins is a man that for 3 decades across multiple films has always seemed a middle aged, angry, a red-blooded meat eater. This is somewhat fitting for a man who has his name is shared by a diet program.

tom a 1

More to the point though, Atkins presence is also a sign that this film will not be dealing with teenage babysitters in peril. Instead Season of the Witch is going to be based around men in suits and middle aged doctors, and presumably even witches at some point. Already this is a different type of horror, possibly even a mystery, compared to the earlier Halloween films.

The newly admitted patient is found to be called Harry Gambridge. Gambridge is soon visited by another mysterious man in a suit. This new stranger though is a tad more efficient than the previously discussed strangers in suits. The visitor in the hospital does not just casually chase Gambridge. Instead he kills him. The killer then heads off to his car and sets himself alight. Since the killer takes the time to kill himself in his car, I can only imagine even in the 1980’s smoking was not allowed in hospitals.

Suffice to say Dr Challis is not too happy about this. As an alpha male, nobody gets murdered on his watch unless he is responsible! Naturally then, Challis decides to forget all about his other patients and join Gambridge’s daughter, Ellie, into investigating this entire scenario. Hey if Quincy MD and Diagnosis Murder’s mark Sloan can disappear to solve crimes, then why shouldn’t Atkins. Besides which he clearly fancies the young Ellie. So that’s all OK then.

Just a father and daughter hwalking along. Nothing to see here… Oh god, no! They’re lovers!

There only clue that the pair have is the rubber mask that Harry was clutching as he collapsed inside the gas station. It is a novelty Halloween mask made by The Silver Shamrock Company, so the duo begin their investigation by heading towards the Silver Shamrock Factory.

Mo, Larry and Curley had seen better days.
Mo, Larry and Curley had seen better days.


This factory is located in a small town just outside of California. Actually, the factory pretty much is the town. When Ellie and Dr Challis check into a hotel by the plant, they are informed by the owner that this entire town works at the factory. It is a town of Irish descent and they owe all of the prosperity to local Irish business man, Conal Cochran. Although since the town’s entire ‘prosperity’ seems to amount to a factory and a motel, they should perhaps just buy Conal a Guinness and call it even.

I’d buy that for a dollar
OCP Stocks? I’d buy that for a dollar!

Nonetheless, Ellie and Challis stay at the motel after discovering that Harry had also previously stayed there. Being a reckless Doctor and a young girl, they get a single room and soon sleep with one another. After all, Atkins is pure man, baby.

There are some more hotel guests alongside the Doc and Ellie. They are a toy store owner, and a family of three. These additional characters pretty much exist solely to die quite nastily. This is a horror film after all.

Easily the most stand-out of these deaths is that of fellow Motel patron/cannon fodder, Marge Guttman. Guttman is in her room playing with one of the Silver Shamrock tags that are normally attached to the rubber masks. She makes the mistake of trying to open this tag when suddenly her whole face gets lasered clean off!

This is proof that even horror sequels can be educational. Should one ever see one of those grey-discs attached to clothes in a shop, do not try to remove it yourself. It may not have dye in it. It may have a lethal booby trap.

Back into the main protagonists of the film, Ellie and Dr Challis mange to get onto a factory tour of the Silver Shamrock plant. Ellie ends up kidnapped by more of the yuppies, and in attempting a rescue Dr Challis discovers that these business men are actually just robots. I do not type that as a similie for the modern workplace, I mean they really are robots. Made of wires and metal and terrible haircuts.

Fun fact: 'Robot' comes from the Czech word for 'Slave'
Fun fact: ‘Robot’ comes from the Czech word for ‘Slave’


Soon enough, Challis and Ellie end up the captives of the Conal Cochran aka the OCP guy from the Robocop series. Conal turns out to be descended from Druids who wish for the commercialised, modern Hallowe’en to return to its original form of Samhaim. This original form will involve sacrificing children’s souls to keep the world in more in line with the ancient powers that be. Although it is equally feesable that that a lifetime of working in a toy factory has just left Conal hating kids.

Conal plans to revive the ancient power of Samhaim via a stolen boulder from Stone Henge (really) which he has incorporated pieces of into alongside computer chips (really). These mystically-endowed computer chips are then hidden within the tags on the Halloween masks (really) and will be powered by evil Celtic magic (really). These masks hidden powers will then be triggered by a secret code embedded via a Television advertisement (really). Consequently, any child wearing a Silver Shamrock mask at midnight who sees the said advert will turn into a pile of bugs and snakes (really).

To be fair to mad old Conal, it’s certainly a more original plan than Michael Myers repeated stabbing of teens. Although it’s a pretty out there plan when he could have just poisoned some candy and given it out.

Naturally Dr Challis, being the pure Alpha Male that Tom Atkins embues, manages kill Cochran and destroy the factory and rescue Ellie. Not bad for a middle aged Doc who originally sneaked off for some rumpy pumpy from a young girl in mourning.

As they drive away into the sunset, Challis is suddenly attacked by Ellie. She is not Ellie at all, but is another android!

Not the best time to lose one’s head

Atkins overcomes her, possibly by ripping her circuits out with his bare teeth. Or possibly by driving the car into a ditch. Believe whichever scenario you prefer. Challis manages to stumble to a reach a payphone to warn the Television Station not to air the Silver Shamrock commercial. Unfortunately he does not reach every station in time though. The signal is sent. The film ends as we hear Challis scream as his very own children begin to devolve….

Although to be honest the children should never have been up in time for a midnight commercial anyway. Also there are several time zone issues with this concept. Still, logic loops are almost always forgiveable if they lead to an enjoyably dark ending for a horror film, and they don’t come much darker than mass enficide.


“I had sex with a young girl! Wooooo!”

Now given the off-hand manner in which I have recounted Halloween III: Season of the Witch it may seem as though the film is dumb-trash. This is actually not the case. My recounting of the plot is more down to how absurd and varied it is. The way the film unfolds is actually pretty strong.

The film drips bleakness from the start. There is a sense of nihilism right away, something often necessary but overlooked necessary for creepy films. The beginning of the movie has its lead- a Doctor- unable to save his patient from being murdered under his very own nose. This very same Doctor then abandons his position of care- and even his family- to try and hook up with a young lady who has just had her father murdered…. And this lead character is the ‘hero’ of Season of the Witch!

Atkins aint no saint

By the end of the film, dot only does Dr Challis fail to save America’s children, but he also fails to save his own family. This being the very same family he abandoned on a sexual whim. Put simply, Challis fails and the world pays the price.

Meanwhile as viewers, the audience is exposed to killer robots, face-melting lazers, a Celtic Pagan- psychopath and magic that kills children. These threats seem to randomly crop up from the very start of the film onwards, often with no prior-hint or warning. The net result is to create a world where death lurks around every corner regardless of how fanciful it may be.

Between unexpected scientific and supernatural murders, as well as a protagonist that is not a clean cut good person, Season Of The Witch is the equivalent of a Fox news report. It informs the viewer that they are doomed.


Part of this gloom in the film no doubt comes down to the choice of screen writer, Nigel Kneale. Kneale was a Science Fiction writer of quite some pedigree, having gained acclaim for his work on creating the Quartermass Experiment series.

Kneale wrote the original screenplay for Halloween III: Season of the Witch. Although the final form was so altered that Kneale asked for his name to be removed from the credits. Yet despite many changes it would seem that Kneale’s use of Science Fiction and Fantasy to highlight the hopelessness of man still hangs over the final film.

Given the present tropes of a horror films- reduced lighting, nasty special effects and haunting music- the total film becomes a sheer attack of nihilism on the senses. In this regard Halloween III is certainly a triumph as both a horror movie and as a part of the Halloween series. Much as with Michael Myers, terror is presented here as always worryingly present and unstoppably fantastical.


Interestingly Season Of The Witch did actually turn a profit almost immediately. Made for approximately $2.5 Million, the film made over $14 Million just at the U.S. Box Office. The film was certainly no failure. Still, this positive return was just no match for the cash that Myers appearances had brought in. So out went the Anthology concept and back once again came Michael Myers, via the subtly named Halloween 4: The Return Of Michael Myers in 1984.

Sadly Myers return led to bigger box office returns than the braver Season Of The Witch. Consequently more slasher Halloween films were made leading to Myers seeming-immortality having to be addressed. Frankly, this was a terrible idea.

In the continuation of the original series, ( Halloween: H2O, aside) Myers was revealed to be a part of a global conspiracy. He was born into a secret cult that stole his soul. Now he must butcher his whole family to save the world from supernatural destruction! Yep. That all really happened in the series between parts 4-7. Sigh.

Even old Donnie P couldn’t escape the paycheque of… The Cult of Thorn!

Meanwhile in the second series of Myers films that were ‘re-imagined’ by Rob Zombie, a decision was made to avoid the Cult Of Thorn altogether. Unfortunately these remakes did something just as dumb; Zombie used this opportunity to completely negate the terror of Myers. No longer was he a mysterious, silent killer that could represent the ‘boogeyman’ of anywhere. Instead he became a 7 foot giant with a Jerry-Springer type of background that explained all his behaviour away. Oh and he had a psychic connection to Laurie that involved a big white horse.

c/o meandyouandablognamedboo.blogspot.com

Both routes of the Myers-fasciantion killed off any mystique or terror surrounding the actual character himself. Whether it was a cult that makes his soul-less form invincible or a completely explained back story of a White Trash nutter, Myers was no longer scary. Meanwhile Season Of The Witch may be pretty strange and fanciful, but it does exist as a rare and bold attempt to keep a franchise going whilst having zero to do with the previous films.

Season Of The Witch could have also potentially led to any number of interesting scary stories not beholden to any previous entries. Potentially these ad-hoc Halloween films could have constantly be helmed by fresh film makers, giving the entire series an eclectic and energetic feel.

Admitadlly, depending on your love for the Myers character and your association with him as the Halloween franchise,then perhaps a non-Myers film sounds like a terrible idea for the series. But honestly, could it have been any worse than what ultimately happened to pale face two times over!??


Next time will be a look at a man with a voice soaked in bourbon and nicotine- and no, it’s not Joe Pasquale in a Noir movie.

Thanks for reading.




BLOG: YTC_Hollyweird: Episode XX: Astro Creeps

Follow me on Twitter: @You_Total_Cult.

In the short term, the YTC podcast can currently be found at http://www.chrisandphilpresent.co.uk/blogs/youtotalcult/


The blog below was under an older name of Hollyweird. I have kept the numbering the same so that I could keep track of my posts, but this is where it all begin back in the heyday of 2012…


Growing up in the leafy ghetto of Greater London, I was quite the grunger and metal head as teenager. One band that it was hard not to notice in the metal scene at that time was White Zombie.

Fronted by the self-proclaimed ‘Hell-billy’, Rob Zombie, White Zombie stood out in a scene of numerous identi-kit Nu-Metal bands for three reasons. Firstly, Rob’s vocal style was not far off trying to sing whilst gargling gasoline. Secondly, they had meaty riffs, which is the only type of meat I still consume to this day. Finally, they had a weird hodgepodge of imagery.

Urgh… not his face, just the turtle-neck.


This imagery was controlled by Rob Zombie. Zombie is an educated art and design graduate, and also worked full-time as Porn Magazine Design Editor. Given his wide knowledge of design, Zombie combined his various interests to give his band an eclectic look mixed up from 50’s Americana, Futurism, Universal Horror and Ed Roth’s art. Together this jumble of styles was garish but recognisable, familiar yet unique. This amalgam of trash-imagery even extended to White Zombie’s music videos- something that makes all the more sense once you know that Rob Zombie directed the band’s music videos, too.

Fun Fact: Rob Zombie animated the trip sequence in Beavis & Butthead Do America


So when it was announced in the year 2000 that Rob Zombie had his own feature film coming out, I already had a rough idea of how it may potentially look. Sure enough, after several delays, House Of 1,000 Corpses arrived in 2003 and it was in many ways it was an extension of his established style.

House Of 1,000 Corpses is a wild throwback for horror fans. It was a modern exploitation movie set in 1973, a key decade for the genre. The plot, in brief, is that a bunch of Kids are out sightseeing macabre places. They stop to get Gas and find the owner of the Gas Station is the unusual Captain Spaulding. Spaulding dresses like a clown and sells fried chicken out of his gas station. More importantly for them, he has a deep knowledge of the local urban legend concerning a mad scientist called Dr. Satan who once tried to create an army of super mutants.

The kids go looking for more on this Dr. Satan legend, but soon they ‘breakdown’ at a house nearby the murder locations. This is the house of the Firefly family. The Firefly’s are made up of freakish relatives who resemble twisted Carnie folk. Even worse, they are a soon revealed to be murders, rapists and, at a complete guess, quite possibly even tax dodgers.

Splatter And Gore HOUSE OF 1000 CORPSES

House Of 1,000 Corpses has a lot of fun elements and is self-aware enough to revel in its own silliness. This is evident in its use of Dr. Satan as a geriatric Mad Scientist-come-Body-Modder, as well as the Firefly clan being named after different Marx Brothers characters. In fact, perhaps the most telling- and endearing- sign that this is not a film to be taken too seriously is that the very first character we meet is Captain Spaulding. Spaulding is a murderous clown who built a Ghost Train into his fried-chicken-selling gas station and likes to imitate John Wayne. This is hardly Ken Loach territory.

Through House Of 1,000 Corpses,Rob Zombie made a candy floss movie. A brightly coloured, enjoyable snack rather than a nutritious meal to be consumed delicately. There is certainly nothing wrong with that.

Meh, better him than some candidates.


However, it is the subsequent sequel span in a new direction. This sequel, The Devil’s Rejects,has been burning away in the back of my mind for over a decade. It has always left me frustrated despite several viewings. The reason for this frustration will be explained in a moment. However, after watching both films back-to-back again very recently, I finally realised that this frustration may not necessarily be an accident. It may be by Rob Zombie’s intended design.

Case Study A: Captain Spaulding’s look in House Of 1,000 Corpses

Released in 2005, The Devil’s Rejects picks up approximately one year after the end of House Of 1,000 Corpses. The Firefly clan are being hunted by Sherriff Wydell, whose brother George was killed in the first film. Sheriff Wydell is not just an officer of the law- he is a self-righteous force of vitriolic justice.

With various members of the family wiped out during a siege near the start of the movie, only the father Otis, his sister Baby, and their father, Captain Spaulding, are able to escape. The film focuses on both the remaining Fireflies as serial killers on the run, and also Wydell’s loss of control as he peruses them unrelentingly across dust bowl Texas. As their confrontation looms closer and closer, things get bleaker and bleaker with every passing scene.

If you are unfamiliar with either of these films, compare the rough plot synopsis that I have written and you’ll notice a remarkable shift of tone. Gone is the joy of exploitation from the first film. The sequel takes a weightier look at the horror of pure evil that humankind can do. There is no hope in The Devil’s Rejects. The only thing present is despair.

Case Study B: Captain Spaulding’s look in The Devil’s Rejects

Unlike the neon-circus of House Of 1,000 Corpses, the colours of every scene of the sequel are drained out. The film is seems exclusively brown, grey and every shade in-between. Also absent are the ‘MTV’ fast editing that House Of 1,000 Corpses is loaded with. In the first film, the shocking scenes are cut with obtuse imagery or skittery shots from other perspectives. It is a jarring way to show something shocking has happened. The editing in The Devil’s Rejects though is much more straight forward and traditional. In short, the tone of the film series has gone from comic-book to snuff movie.

Now this change in tone is not the point of this blog entry. The shift is not anything that needs pointing out, it is simply a statement of obvious fact. However the point of this blog is linked to this massive tonal shift.

Even Batman gets frustrated sometimes
Fond online, c/o Jason Edmiston


The thing that has previously frustrated me with The Devil’s Rejects, even from my very first cinema viewing at a midnight screening, is its ending.

House Of 1,000 Corpses ends with the bad guys getting away with it all. Downbeat endings are often exploitation standards, and since the whole film is fluff it does not feel out of place. Unfortunately, given that The Devil’s Rejects is presented as a much grittier and a somewhat more realistic film than its predecessor, its ending becomes one of very poor taste.

The end of The Devil’s Rejects involves the emergence of a presumed dead family member, Tiny, returning just in time to save Otis, Baby and Captain Spaulding from Officer Wydell’s vengeance. Tiny stays to perish rather than burden his family, and so the three escapees head off once again. As the last Firefly survivors try to get away they come across a Police blockade. They are then slowly gunned down to Lynyrd Skynyrd’s song Free Bird. It is almost like experiencing a redneck version of The Wild Bunch.

“It’s a dry heat, y’all”

This ending is presents a brutal death for the escapees, and in doing so it attempts to humanise them. The entire sequence begins with swooping shots of the countryside whilst the guitars of Free Bird build.

These shots of scenery eventually give way to close up’s of their three weary, bloodied faces. They drive off in a battered state, having seemingly escaped society and the law. As they head off the song’s message of ‘personal freedom’ begins to become apparent.

As the song continues, there are repeated flashbacks to home-video type footage. In these shots we see the Fireflies as a loving family. They smile and laugh and pose together happily. These home video moments are inter cut with their bloody, almost lifeless faces. All the while the song continues to build up.

As Free Bird flows into its epic form, the Fireflies realise a Police blockade is ahead. They pick up their guns and drive straight on, choosing to go out fighting whilst the guitars twang over the soundtrack. We proceed to witness bullets rip each of them apart in slow motion as the song crescendos and the film simply fades to black.

So the final presentation of the Fireflies is of a loving family who go out like proud rebels of the Wild West….Yet barely an hour before hand we have followed these same characters as they sexually assault a woman, kill her husband, cut off his face and then force her to wear it!

Ed Gein loves you and wants to hug you


Zombie’s attempt to present horrible characters in a sympathetic light at the zero hour always seemed to me to be in awful taste. The fact the audience is supposed to suddenly feel sad for the Fireflies simply because the frame rate slows down, and we see that they had fun family times too has always bothered me.

But on my most recent watching of The Devil’s Rejects, what recently clicked in my mind was, well, maybe that’s the whole darn point of the film.

Maybe we are supposed to question the technique-to-content relationship. Maybe we are not supposed just being passive viewers who accept the Fireflies defiant last stand. Just maybe we are in fact supposed to call “bullcrap!” on that whole section.

Let us take a moment to consider this; Rob Zombie makes a fun, schlock-fest via House Of 1,000 Corpses. No doubt some people could be offended by it, but for the most part it’s so ridiculous and over the top in all its techniques that it’s clearly fluff. Good fluff perhaps, but fluff.

Then Zombie follows it up with The Devil’s Rejects. This is a brutally grimy film that follows the very same characters in a far harsher light. Now these characters are stripped from their garish costumes and their cartoon world. There is no Dr. Satan here. There are no mere-men curiosities. Not even Captain Spaulding is wears his full clown outfit any more. Instead he now wears regular clothes with the faded visage of clown make-up.

Is Zombie is actually presenting a film that is not only about setting a different tone, but it is also about questioning that very tone? If so, then the The Devil’s Rejects ending begins to take on a much more interesting and acceptable bent.


The ending does not have to humanise these demons. Rather it can exist to show how film techniques can humanise demons. It all it can take is some slow motion, some pleasant cutaways and the endorsement of rock song associated with positive nostalgia.

At any rate, this is just a recent theory. Perhaps Zombie is asking us to question how we could possibly sympathise with rapists and murderers, or perhaps Zombie genuinely does expect us to sympathise for them simply because they’re ‘cool’ characters.

It is tough to know if Zombie is an artist with something to say, or a psychotic with a camera. I like to think the former given his amazing growth between the two films, but I am tempted to think the latter. After all, his next film was the atrocious Halloween remake. Oh Rob, I guess you were out to shock and disgust after all.


Next time I’ll be pondering what my old pal Jack Burton always used to say.

Thanks for reading.