One of the few horror sequels that’s vastly superior to its predecessor, Rob Zombie’s The Devil’s Rejects picks up with the homicidal Firefly family seven months after the horrific Halloween Sacrifice in House of 1000 Corpses. After a frenetic intro that tricks you into thinking it’ll be just another haunting tale, Malignant ends up being quite an enjoyable ride that indulges in its absurdity in the best way. The vicious scenes are complemented by incredible (and, sure, incredibly over-exaggerated) choreography that really drives at the heart of what makes Malignant great. But the movie simultaneously leads you down less explored paths as its mysteries open up, rapidly shifting from slow pace teases to full-on action that is surprising and delightful (and a little chuckle-worthy). At the top, Malignant explores a fairly well-trodden plot introduction by focusing on a woman suffering from horrifying visions of brutal murders by an unfeeling (and unknown) murderer. Even its early hints manage to coalesce to catch you off-guard ultimately. And as brow-furrowing as its familiar horror trope mishmash beginnings are, Malignant trades on its initial scenes with one of horror’s all-time best pay-offs possible. But aren’t all the best horror movies? The word “wild” has been a widely used, and completely appropriate descriptor for James Wan’s latest masterful and effective storytelling in the horror genre. Let’s get this out of the way first: Malignant is, indeed, weird as hell.
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