The murderous, backwoods Firefly family take to the road to escape the vengeful Sheriff Wydell, who is not afraid of being as ruthless as his target.
Critics were sharply split on Rob Zombie's ultraviolent road movie: admirers found genuine craft in the character work and the brazen grindhouse energy, while detractors saw hollow shock value dressed up in 1970s nostalgia. The central argument was whether the film earns its brutality through personality and style, or whether it's just brutality — a debate that has only sharpened as the film found a devoted cult audience that contemporary reviewers largely denied it.
“There is actually some good writing and acting going on here, if you can step back from the [violent] material enough to see it.”
Roger Ebert·Chicago Sun-Times
“Let's hear it for the Southern-fried soundtrack, from Buck Owens' 'Satan's Got to Get Along Without Me' to Lynyrd Skynyrd's 'Free Bird', playing over the blood-soaked finale, which manages to wed The Wild Bunch to Thelma & Louise.”
Peter Travers·Rolling Stone
“[D]espite decades of soaking in bloody classics such as the original Texas Chainsaw Massacre and I Spit on Your Grave, Zombie didn't absorb any of the underlying social tension or heart in those films. He's no collage artist of influences, like Quentin Tarantino, crafting his movie from childhood influences. Rejects plays more like a junkyard of homages, strewn together and lost among inept cops, gaping plot holes and buzzard-ready dialog.”
Robert K. Elder·Chicago Tribune
Crime, Drama, Horror
The murderous, backwoods Firefly family take to the road to escape the vengeful Sheriff Wydell, who is not afraid of being as ruthless as his target.
Critics were sharply split on Rob Zombie's ultraviolent road movie: admirers found genuine craft in the character work and the brazen grindhouse energy, while detractors saw hollow shock value dressed up in 1970s nostalgia. The central argument was whether the film earns its brutality through personality and style, or whether it's just brutality — a debate that has only sharpened as the film found a devoted cult audience that contemporary reviewers largely denied it.
“There is actually some good writing and acting going on here, if you can step back from the [violent] material enough to see it.”
Roger Ebert·Chicago Sun-Times
“Let's hear it for the Southern-fried soundtrack, from Buck Owens' 'Satan's Got to Get Along Without Me' to Lynyrd Skynyrd's 'Free Bird', playing over the blood-soaked finale, which manages to wed The Wild Bunch to Thelma & Louise.”
Peter Travers·Rolling Stone
“[D]espite decades of soaking in bloody classics such as the original Texas Chainsaw Massacre and I Spit on Your Grave, Zombie didn't absorb any of the underlying social tension or heart in those films. He's no collage artist of influences, like Quentin Tarantino, crafting his movie from childhood influences. Rejects plays more like a junkyard of homages, strewn together and lost among inept cops, gaping plot holes and buzzard-ready dialog.”
Robert K. Elder·Chicago Tribune
Crime, Drama, Horror
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