Every time I watch one of Rob Zombie’s movies, I want to take a hot shower immediately afterwards. No matter what the story line is, Zombie films everything through a layer of sweat and dried blood. His most recent film, 31, is trademark Rob Zombie. The dialogue from the characters is cringe-worthy until the plot starts to get rolling. Then, things settle into a predictable but interesting chain of events.
31 is set on Halloween, 1976. Five carnival workers traveling in a van get stopped by a blockade of scarecrows set up in the middle of the road. When they get out to investigate, they are attacked by numerous men in clown masks. When they wake up, they find themselves chained to a pipe and forced to wear metal bracelets each with a number on it. The number represents them as a contestant in a game called “31”, which is held annually by Father Murder (Malcolm McDowell), Sister Dragon (Judy Geeson,) and Sister Serpent (Jane Carr.)
“31”, the game, forces people to stay alive for 12 hours as they are pursued by murderous maniacs called the “Heads.” Each “Head” has a unique persona and preferred type of weapon. The compound in which the game takes place is an old industrial building with a myriad of weird stage settings. Essentially, this is The Running Man for the private entertainment of three old and eccentric white people instead of a nationally broadcast game show.
As usual in a Rob Zombie film, his wife, Sheri Moon Zombie, plays a prominent role as Charly (or, as she’s known in the game, #5.) Along with her are Lawrence Hilton-Jacobs, probably best known as Freddie “Boom Boom” Washington on the 1970s TV sitcom, Welcome Back, Kotter, as Panda (#1); Jeff Daniel Phillips, another Zombie regular, as Roscoe (#3); Meg Foster (They Live) is Venus (#2) and Kevin Jackson as Levon (#4).
Turning in the film’s best performance is Richard Brake as “Doom Head”, one of the maniacs. Doom Head is the only character that’s given any kind of development and, as a result, he’s the most intriguing part of the movie. The opening sequence, in which he delivers a rambling monologue, is one of 31‘s highlights.
31 calls back to Zombie’s first movie, House of 1000 Corpses, in terms of its 1970s exploitation style and construction. From a plot perspective, 31 is predictable and not very scary. It is, however, a lot of fun if you’re familiar with the type of movie Rob Zombie typically creates: grungy, vulgar, violent and occasionally funny horror flicks that would feel right at home on a double bill with The Texas Chainsaw Massacre at the drive-in. Those not familiar with Rob Zombie’s work might find it hard-to-watch and even more difficult to understand the point.
3.0 out of 5.0 stars
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