Poor clowns. Never get the respect they deserve.
While on tour and cruising the states, bringing their wacky and wild show to everyone out there, five carnival workers stop at a gas station on the eve of Halloween, not really thinking much of anything, except how much fun they’re going to continue to have on the rest of the tour. But suddenly, for unexplained reasons, they are knocked-out and kidnapped, only to wake up a few hours later, with it being Halloween and them having to fight their way out of a dungeon chock full of murderers, psychopaths, and just plain and simple weirdos. The game is called “31”, and it’s a life-or-death kind of thing, which the carnies more than get the gist of right away. But as ready as they may be to duke it out for their lives, with some of the most homicidal and strange maniacs the world has to offer, they still don’t ever what’s going to come up next. For them, the next 12 hours will be absolute hell and they’re going to have to try and survive each and every minute of it, as best as they can.
Symbolism? Eh, probably not.
I’m pretty sure I wasn’t supposed to like 31. It’s another one of his ugly-looking, gritty, dirty, mean, disgusting, violent, and gory horror-flicks that takes place in the 70’s, features over-the-top characters, a lot of F-bombs for some reason, and just really, really weird stuff that sort of all goes unexplained. Not to mention the camera jerks around so much that you’ll be lucky if you don’t get motion-sickness.
But for some reason, I actually kind of liked 31.
Granted, it’s not a great movie and it’s surely not an improvement over any of his flicks, but it does show him having some fun, while also doing whatever he can to bring in others on his fun, as well. With the Halloween movies, there always seemed like this idea that Zombie had someone, or something, to answer to and he never quite got the opportunity to fully break-out and do his crazy thing. Here, with 31, it’s most definitely his own, single affair and because of that, we get to see more and more glimpses into his messed-up, screwed-up mind, even if we don’t really want to.
And for that, 31 sort of works. It’s the kind of movie that’s just weird enough to pique some sort of interest, but also violent and exciting enough to truly be fun. Sure, there’s a whole lot of disturbing violence that occurs to characters who probably don’t deserve it, but rather than focusing on the doom, gloom and sheer dread of it all, like he’s done a million times before in all of his other movies, Zombie now seems to treat them as something that just ups the ante and keeps the story moving. As with Zombie’s other movies, he’s always excessively focused so much on the harsh and brutal killings, but never really doing anything with them- here, he gives us an idea of just how cruel and crazy this version of Hell is and because of that, it’s easy to be compelled by.
There’s action, there’s violence, there’s blood, there’s gore, there’s chainsaws, there’s barb-wired baseball bats, there’s evil clowns (as if we need more of them), there’s British people in wigs, and hell, there’s even a German-speaking Nazi midget. I assure you that this is a Rob Zombie flick and not an old taping of ECW, I’m speaking of here. But like I said, it’s just so crazy and insane, that it somehow works.
See! Killer clowns really do exist!
Zombie, for once in his career, seems to embrace it all, have some fun, and not be as closed-off as he once was.
Still, the movie’s not perfect. Far too many times does the flick feel as if it’s a video-game, offering up another dastardly and evil villain for our group of supposed-heroes to battle, and even when it does seem to talk about something darker, stranger brewing underneath the surface, it backs away from it all. This idea that the 31 game is all some sort of institutionalized madhouse for prisoners being held against their will is brought up at least once or twice, but for some reason, never explored again; it’s almost as if Zombie scared himself with the thought of actually having something interesting to say, or do, and backed away before it was too late.
Shame on you, Rob.
As for the cast, Zombie’s usual band of misfits are around, and mostly all of them are fine. If anyone really stands out here and gets a chance to do something with the sometimes thinly-written material, it’s Richard Brake. In his tall, skinny and lanky-demeanor, Brake truly is terrifying, but in a very unconventional manner; he doesn’t have to wield a big gun or sword to get his point across, just the dead look in his eyes and tattoos on his body are enough to have us creeped-out. It also helps that Brake, of all people, handles Zombie’s material like a champ, making some of the most ludicrous and ridiculous lines come out, well, sort of comprehensible. I get that that’s the job of an actor in the first place, but with Zombie, it seems almost too difficult, as his scripts are just so weird and wacky, not even the most talented thespian could make sense of it. Thankfully, Brake is able to here and even if I don’t really wish Zombie continues to make more movies, if he does, I hope he does so with Brake.
Consensus: Mean-spirited, ugly, disgusting, violent and grimy, 31 is, admittedly, the same kind of flick we expect to see from Rob Zombie, but this time, has a lot more fun with itself than all of the others before.
5.5 / 10
Rob Zombie’s answer to French New Wave? Eh. Probably not.
Photos Courtesy of: Indiewire, Spine Chillr