We recently put out a retrospective episode on the film, Mean Girls. I know, I know you came here for a Rob Zombie review, why are you reading about the pretty and posh Mean Girls. Truth is Mean Girls opened up nearly the same weekend as Rob Zombie’s directorial debut, House of 1,000 Corpses. The first film that introduced us to sick and twisted Firefly family. My significant other, at the time, wanted to see that movie more than Cady Heron’s thrust into public schools and the villainous Plastics. While I don’t regret choosing Mean Girls, I do regret waiting so long to see House. When I finally got to see it, I instantly fell in love and that love had a chance to continue with The Devil’s Rejects. Finally, after fourteen (long) years, we get the conclusion to the Firefly trilogy. Was it worth the wait, though?

3 From Hell picks up after the events of Rejects and thrusts the narrative forward to the early 1970s. Otis (Bill Mosesley) & Baby (Sheri Moon Zombie) reunite with old brother, Winslow Foxworth Coltrane (Richard Brake), and set onto a road towards freedom. Honestly, giving a synopsis for this movie is incredibly hard. In full disclosure, Hell feels like two different visions fighting for control of the wheel. The front half of this film chronicles the escape and reunification of Baby and Otis. This half of the film boasts Zombie’s signature camera pans. In which a frame freezes and slides to the next frame. The color palette feels darker, visually and brilliantly showcases the grindhouse aesthetic of the 1970s underground moment. Not to mention that the narrative is tighter.

In that tightness, it also allows Moon Zombie and Mosesley to truly showcase their madness. Moon Zombie is absolutely electrifying. As is Mosesley, equally pulling for the true insanity backbone of the film. Both actors manage to create a presence that glues your eyes to the screen and never lets go. The lunacy of both actors is pure cinematic gold and will satisfy any fan of the family or genre. Even the visual and script with it, could be some of Zombie’s best work. Then, you take the Firefly family to Mexico and movie feels completely different. Everything about the second half of the movie feels unlikely what you’ve seen up to that point.

Stylistically speaking, the Zombie camera pans quickly fade without warning. If they do exist in the second half of the film, they are far and few between. Whereas its’ opening hour boasts them almost every 10 to 15 minutes – completely oversaturating the viewer. The colors of the second half are significantly brighter and the narrative becomes looser. Fueling more dead space than actual story. To quote, Deadpool, that’s just lazy writing. The second half of the film actually hinges on a moment within the first act of the movie. Though by the time, we actually get to the consequences of that moment it feels contrived. The electricity of its actors quickly fizzles by the time we reach the Mexico border. Zombie unapologetically leans into cinema stereotypes as well.

Overall, 3 From Hell feels like the Justice League of the horror genre. The film manages to boasts some of the best work from Sheri Moon Zombie & Rob Zombie’s careers but fails to leave a lasting impression. The film feels uneven and sloppy in a multitude of ways. The front half of the film hosts electrifying performances from Moon Zombie and Bill Mosesley, which quickly fizzles by the halfway mark. Even stylistically speaking, the film feels like two different visions forced to occupy the same space. The front half houses a darker color palette, tighter narrative and unique transitions. Whereas the latter half of the film is home to a brighter color palette, little to no narrative and borderline boring material. 3 From Hell is the steak that you wanted but ultimately comes with more fat than meat.

RORSCHACH RATING: