Rob Zombie’s ’31’… The Most Shocking Film Of The Year?!

Bring in the motherfucking clowns! Trust me, they aren’t here to brighten your dismal day; they’re here to end your miserable life!

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Although the film’s US release isn’t till 16th September this year, and as yet no word on the UK release date, there is still, understandably, a lot of hype around this film.


Zombie’s movie catalogue has a mixed history with viewers and critics. Although the director has a die hard following of fans, films like Halloween II only got 1/5 in Cinemablend, and his remake of Carpenter’s original classic only got 25% on Rotten Tomatoes’ viewer rated system. BUT, from the pre-release premier viewings at Sundance, ’31’ already has a 6.9 rating on IMDb, which equals the title with Zombie’s other cult favourites, House of 1000 Corpses (2003) (6.9 IMDb), and, The Devil’s Rejects (2005) (6.0 IMDb.)

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The storyline uses the classic horror game motif, as 5 carnies are trapped in a derelict compound – with a set reminiscent of a twisted combination of an abandoned warehouse and a creepy-as-fuck eighteenth-century style opera house – called “Murderworld.”
On Halloween Father Murder (played by Malcolm McDowell) announces the game 31, with only one rule… survive!

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Initially the gang believes they are in battle with (or hiding from) a bunch of psychotic screwballs dressed as clowns. But as the film develops a more sinister scheme of sadistic satanic rituals materializes.
Like Zombie’s other films 31 promises a similar kind of perverted surrealism as a Sam Peckinpah picture like The Wild Bunch (1969.)

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The grotesque, carnivalesque, carnage of the film is a return to a style that Zombie has always been comfortable in, and that his cult of fans has always thoroughly enjoyed. Zombie himself has termed this his most brutal movie to date, and is therefore a must watch for those seeking ruthless, relentless, and extreme violence.

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Although, it would seem that some may be disappointed by the film’s attention to shock value via repulsive violence, and lack of attention to plot structure and character background, mightn’t leave the lasting impression that Zombie’s other favourites have done. But if like me you think ‘fuck it, when you’ve got Malcolm McDowell dressed-up like a French aristocrat, a psychopathic Nazi midget, a fucking sick soundtrack, and a good level of eye-twitching, jaw clenching, violence, who gives a shit about plausibility?’

words by @lolajosephine

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