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But what makes The Devil’s Rejects really stand out is the sadistic family played by Sid Haig, Bill Moseley, and Sheri Moon Zombie.
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After narrowly escaping from a shoot-out with a posse of state troopers and one Texas Sheriff-who’s thirsty for blood and drunk on revenge-Otis, Baby, and local TV clown Captain Spaulding go on a rampage, torturing and murdering their way across the U.S. One of the few horror sequels that’s vastly superior to its predecessor, Rob Zombie’s The Devil’s Rejects picks up with the homicidal Firefly family seven months after the horrific Halloween Sacrifice in House of 1000 Corpses. After a frenetic intro that tricks you into thinking it’ll be just another haunting tale, Malignant ends up being quite an enjoyable ride that indulges in its absurdity in the best way. The vicious scenes are complemented by incredible (and, sure, incredibly over-exaggerated) choreography that really drives at the heart of what makes Malignant great. But the movie simultaneously leads you down less explored paths as its mysteries open up, rapidly shifting from slow pace teases to full-on action that is surprising and delightful (and a little chuckle-worthy). At the top, Malignant explores a fairly well-trodden plot introduction by focusing on a woman suffering from horrifying visions of brutal murders by an unfeeling (and unknown) murderer. Even its early hints manage to coalesce to catch you off-guard ultimately. And as brow-furrowing as its familiar horror trope mishmash beginnings are, Malignant trades on its initial scenes with one of horror’s all-time best pay-offs possible. But aren’t all the best horror movies? The word “wild” has been a widely used, and completely appropriate descriptor for James Wan’s latest masterful and effective storytelling in the horror genre. Let’s get this out of the way first: Malignant is, indeed, weird as hell. And be sure to also check out the Best 90s Horror Movies you can stream now and the Best Movies on Shudder.
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Read on for all our picks in the slideshow below or scroll down for the full article. (We’ll let you figure out why we picked the number 31…) As for how we made our selections, we weighed several factors, including overall quality, scare potential, originality, thematic weight, impact on the genre, and of course good old Editor's Choice. And so join us in celebrating the form with IGN’s list of the 31 best modern horror movies. Yeah, the 21st century has been a good time to be a horror fan. We’ve gotten sympathetic kid vampires, dizzyingly disturbing new yarns about colonial New England, fresh variations on the classic zombie story, remakes of oldies but goodies that bring something meaningful to the table, parental/child dissonance couched in a storybook monster, and so much more.
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In other words, welcome to the nightly news.Horror movies come in many shapes and sizes, and the past two decades of the genre have certainly produced a ton of great films that are also as varied as they come. Gorgeously lighted by David Daniel, Doom-Head presides over a world where the rich exploit the poor, women’s genitals are repeatedly name-checked, Nazi iconography flourishes and killer clowns lurk. Yet there’s a brash confidence in Richard Brake’s gonzo performance as the chief nut case, Doom-Head - an inspired celebration of beef-jerky physique and flying spittle. Muddied by freeze frames and woozy panning shots, the violence is incoherent: Much of the time it’s difficult to determine who’s being bludgeoned, julienned or eaten. The effect is cartoonish in the extreme, an opera of gouting gore and multilingual vulgarities (mercifully not subtitled).
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Betting on the outcome are Judy Geeson and Malcolm McDowell, done up like grotesque, 17th-century French aristocrats. The result is a punishingly repetitive game of cat and mouse as the carnies are kidnapped on Halloween (hence the title), dumped in an abandoned factory and hunted by a variety pack of power-tool-wielding psychopaths. But instead of spoofing 1970s horror classics like “The Hills Have Eyes” and “The Texas Chainsaw Massacre,” Mr. The year is 1976, the women favor hip-huggers and handkerchief tops and the men still think that floppily bared bellies are a turn-on. We could have had fun with this merrily foulmouthed band of past-their-prime carnival workers, tootling along Southern back roads in a decrepit van. Awash in blood and revoltingly misogynistic dialogue, this latest redneck ruckus (his seventh feature) is a grindhouse slog of unrelenting bad taste. No one goes to a Rob Zombie movie looking for classy entertainment, and with “31” the director works harder than ever to reinforce that tradition.