The aspect of horror and how spectacle fits into the undeniable formula is the thought process that Rob Zombie can always skew but play with. With the new structure of the studios, it is harder and harder to make the film you want. It either has to be huge, undeniably indie or have an angel investor. Or you can do the crowdfunding approach. It worked for Zach Braff…and it definitely takes you back to your roots but it begs the question: what do the investors get in return? Usually with a lot of these approaches, there is a ton of gimmicks in playing to the crowd. You got to have a hook. What “31” has to its strength is a blessing of characters (more on the villain side) that keep it moving. The problem is that the backing superstructure is pretty weak. Now granted, most of the people seeing this film are not going to be looking at that. The one thing that Zombie can definitely do is set a scene. The ending of “Devil’s Rejects” optimizing the song “Freebird” is over the top and exhilarating on many levels. Here, both the beginning and ending have bookends that really set tone, both with music and editing. Zombie’s use of freeze frame is an art and always harkens his films back to the Grindhouse circuit. After the screening, he did make reference to growing up in carnivals among the carnies so that notion of a gypsy existence very much rings true here. Sheri Moon Zombie gets the female vigilante role and busts it out, going for gold. You know she feels safe to do whatever is necessary and she goes for it. The dialogue is what it is since it is working towards an end game. It is more for the theatricality of it then anything else. The revelation of the movie is Richard Brake who plays Doomhead. You’ve seen him in a ton of films and music videos as well as “Game Of Thrones”. He is the movie. His character has little motivation but his sheer presence, intelligence and physicality simply pummels off the screen. This character is doing a job, albeit a violent one, but he loves it. Every time he is on screen, nothing else can dominate it. You can build a new horror franchise off this character. No masks. Pure and simple. The weak spot is the meaning per se of the game itself. Malcolm McDowell, a longtime favorite of Zombie’s, takes on a maniacal role but the chemistry on it is not quite right. He gambles with two older ladies on the results of the game but their inclusion seems neither motivated or essential. The sequences essentially take you out of the movie. The other villain including a murderous midget dressed up like Hitler, two maniacal brothers with chainsaws and a girl/boy team that is all about beauty and the beast by way of a maniacal mix of “The Munsters” and the nihilists from ” The Big Lebowski” is interesting but despite an inkling doesn’t make a story connection. There is a small one with “beauty” but it is never really optimized. Again, the movie doesn’t necessarily need to be that deep. On one side you have a powerful villain presence and some good style but on the other side a fairly weak backbone in terms of concept. But the element of it balances a bit and ending is still pretty bad ass.
By Tim Wassberg