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House Of 1000 Corpses
Searching for the legend of Dr. Satan, two couples, who in order to make a book to attract terrorist, go on a journey on the roadside, the thing that brings terrible for them, as their car has burnt, leaving them stranded in the road to be the prey of cannibalism, who host them in their house to kill them.
11 November 1968, Boston, Massachusetts, USA
20 March 1950, Chicago, Illinois, USA
13 November 1970, Denver, Colorado, USA
20 January 1966, Seattle, Washington, USA
1 November 1924
11 November 1951, Stamford, Connecticut, USA
July 03, 2007
Le réalisateur cite abondamment, mais ne parvient jamais à donner un sens à ses élans qui finissent par s'éparpiller dans un fourre-tout incohérent et anormalement tapageur
April 15, 2003
A cobwebbed, mummified horror entry that makes obvious, cartoonishly grotesque demands for attention.
April 25, 2003
Zombie wants his film to be gleefully demented, but he fails to grasp that loud, inbred evil people torturing stupid, grating benign people isn't disturbing as much as tedious.
April 28, 2014
Rob Zombie's House of 1000 Corpses has nostalgia on its side but not much else.
April 18, 2003
In this field of endeavour, any intense reaction is unsustainable, for the obvious reason that the guiding principle of repetition comes with an inevitable corollary and unavoidable side-effect -- sheer boredom.
February 09, 2014
This in-your-face homage to The Texas Chainsaw Massacre is the most unrelentingly sadistic flick to come out of Hollywood in quite some time.
April 15, 2003
Wit follows coherence out the window.
April 29, 2009
Cheesy, vapid, contrived, and shallow...
April 16, 2003
House of 1000 Corpses isn't coherent, exactly, but what dripping-ghoul horror movie is these days?
September 24, 2007
I can applaud House of 1000 Corpses on at least one level: The movie has absolutely no interest whatsoever in sanitized horror.
October 30, 2014
Rob Zombie's House of 1000 Corpses is a movie by a man without any sense of modulation.
April 18, 2003
Possibly the greatest waste of celluloid since Jerry Lewis was first allowed to stand before a camera.
