The Lords of Salem 2012 123movies

Watch: The Lords of Salem 2012 123movies, Full Movie Online – Heidi, a blond rock chick, DJs at a local radio station, and together with the two Hermans (Whitey and Munster) forms part of the “Big H Radio Team.” A mysterious wooden box containing a vinyl record arrives for Heidi, a gift of the Lords. She assumes it’s a rock band on a mission to spread their word. As Heidi and Whitey play the Lords’ record, it starts to play backwards, and Heidi experiences a flashback to a past trauma. Later, Whitey plays the Lords’ record, dubbing them the Lords of Salem, and to his surprise, the record plays normally and is a massive hit with his listeners. The arrival of another wooden box from the Lords presents the Big H team with free tickets, posters and records to host a gig in Salem. Soon, Heidi and her cohorts are far from the rock spectacle they’re expecting. The original Lords of Salem are returning and they’re out for blood..
Plot: Heidi, a radio DJ, is sent a box containing a record – a “gift from the Lords”. The sounds within the grooves trigger flashbacks of her town’s violent past. Is Heidi going mad, or are the Lords back to take revenge on Salem, Massachusetts?
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Ratings:

	5.2/10 Votes: 30,702
	46% | RottenTomatoes
	57/100 | MetaCritic
	N/A Votes: 714 Popularity: 14.357 | TMDB

Reviews:

The Lords of Salem is the latest film by industrial rocker-turned-auteur Rob Zombie, and I think it’s a good’un, although it’s already polarizing people.

Sheri Moon Zombie (Rob’s wife who features heavily in all of his movies, though this is her first star turn) is Heidi, a recovering addict and local rock DJ in Salem, Massachusetts, site of the infamous witch trials of 1692. She receives a vinyl record in a wooden box from a band apparently called The Lords, who later on also inform the station that they are performing a one-off gig in the town. Upon playing the record at home however, Heidi experiences migraines and hallucinations of a 17th century coven, performing some manner of birthing ritual, apparently attempting to bring Satan himself to mortal life. Her male DJ colleagues simply experience the tune as a weird, rather turgid dirge (although it’ll stick with you like a demonic earworm) and play it over the air on their rock show, where it acts as a sort of trance-inducing spell on many of the women listening. From there on in, Heidi’s mental state begins to deteriorate and the migraines/hallucinations increase, not helped by her return to drugs or by her peculiar landlady and her two friends, all of whom seem creepily interested in Heidi and what her “fate” might be. Her “fate” as it turns out is attending this Lords gig, except that in many ways, it’s really HER gig. And what’s happening with that supposedly vacant room at the end of the hall? I’ll go no further, partly because to do so would be to give too much away, but mostly because to try to explain it would be futile. You need to see it.

The Lords of Salem is, for much of its runtime, Rob Zombie’s most restrained feature film. It can move pretty slowly most of the way through, although thanks to Mrs. Zombie’s best on-screen work to date and some great supporting performances throughout, particularly from Dee Wallace, Judy Geeson and Bruce Davison, those slow moments are largely spent getting to know and like our protagonists (or of course, become ever more unnerved by our antagonists). However, it’s the sections where The Lords of Salem lets rip – including a finale that takes an absolute swan-dive off of the cliffs of tangible reality into the seas of utter lunacy – that are dividing opinion. Rather than a balls-to-the-floor gore flick, what we have here is a retro-heavy European art-horror piece, akin to any of Dario Argento’s more hallucinatory efforts. The imagery is incredibly striking and bold, and very much as you’d expect from Mr. Zombie, if you’re aware of his previous work (House of 1000 Corpses, The Devil’s Rejects – neither of which I thought were particularly good, although I may revisit Rejects at some point soon – the 2007 remake of Halloween and its 2009 sequel – both of which I really enjoyed), but because of that retro restraint that same imagery also rides a very fine line between bold and laughable depending I guess on whether you’re able to buy into those arthouse horror stylings or you’re not, and find yourself pulled out of the movie. The low budget (I’ve seen figures between $1.5m and $2.5m punted about) isn’t an issue until some of the more ambitious special effects present themselves, but if you’re not “feeling it” at that point, you’re not going to. Personally, I like a film that has some scenes that aren’t necessarily explained away by a perfunctory, realistic narrative, I like a film – especially a horror – to adopt a retro vibe from time to time, as long as they’re done well (which this is), and I love a bit of witchcraftery and devilishness. The Lords of Salem reminded me in many of ways of Ti West’s excellent slow-burn retro creeper The House of the Devil, but with added… well, with added Rob Zombieness, I suppose!

Recommended, although many will find it objectionably bad.

Witchcraft/Satanism in modern Salem by Rob Zombie

RELEASED IN 2012 and written/directed by Rob Zombie, “The Lords of Salem” is a witchcraft/horror flick starring Sheri Moon Zombie as a DJ in Salem, Massachusetts, who is sent a wooden box containing a mysterious record dubbed “gift from the Lords.” The creepy music thereof triggers flashbacks of her town’s infamous past. Is Heidi going crazy or are the witches taking revenge on Salem?

The ambiance, mood, directing, music, locations, sets and cast are all top notch, showing that Zombie has developed into a quality director since his first shot eleven years earlier with “House of 1000 Corpses,” which was shot in 2000. This is serious haunting horror as opposed to the campy black comedy of “1000 Corpses” (not that there’s anything wrong with that, lol). The movie mixes elements from “The City of the Dead,” aka “Horror Hotel” (1960), “Suspiria” (1977), “Rosemary’s Baby” (1968), “The Wicker Man” (1973) and “To the Devil a Daughter” (1976). If you like any of these movies, “The Lords of Salem” is as good or better.

Usually when you see old hag witches in movies it’s kinda eye-rolling; not so here. Rob gives us the real deal and it’s not pretty, although I admit to busting out laughing every time the witches hailed Satan. Speaking of which, modern Wiccans won’t like how the films mixes Witchcraft with Satanism (the truth hurts). Interestingly, there’s almost as much Christian imagery as there is Satanic.

One thing’s for sure, Zombie doesn’t paint witchcraft/Satanism in a positive light. It’s similar to “The Witch” (2015) in this respect, where converting to witch-dom meant becoming a baby-slaughtering, blood-bathing, family-destroying, goat-sucking, friggin’ pedophile hag with the illusion of youth. When the Devil eventually appears in “Lords,” it’s anything but a positive image.

The story seems to perpetuate the myth that those condemned at the Salem Witch Trials in 1692-1693 were burned to death. Actually, 19 people were hung, another slowly crushed to death, and over 150 imprisoned.

Sheri makes for a strong protagonist, but she’s the extant of any eye candy on the female front. As noted earlier, the witches are all hideous hags and look even uglier with their clothes off. Meg Foster surprisingly appears as the lead witch. Meanwhile, Judy Geeson, Patricia Quinn and Dee Wallace are on hand as a dubious trio in modern Salem. Speaking of whom, they have a great (hilarious) tea scene with Bruce Davison, who plays an expert on witchcraft.

THE FILM RUNS 1 hour, 41 minutes and was shot in Salem, Massachusetts; Sable Ranch, Santa Clarita, California (witches dancing around fire); and the Los Angeles Theatre (opera house).

GRADE: B

Spooky, atmospheric and a nice low key departure for Rob Zombie
The Lords Of Salem is a departure for director Rob Zombie, easing back from his usual brand of profane, blitzkrieg, jarring vulgarity and bloody excess that he burst into the film scene with. Here he tones down the craziness in favour of something far moodier, that gets under your skin subtly, instead of ripping it off and wearing it as a suit. Don’t get me wrong, it’s still an extremely disturbing movie, but it takes its time getting there, the horror a droning force of inevitability as opposed to a dancing clown jabbing you playfully with a butcher’s knife. The story here is based on the infamous Salem Witch Trials, and in a grimy prologue we see several gnarled pagan banshees involved in a backwoods ritual. Jump to present day, we follow Heidi Hawthorne (Sheri Moon Zombie) an ex junkie radio DJ, along with her fellow broadcasters Jeffrey Daniel Philips and the one and only Ken Foree. They interview various guests and goof off on the daily, a lighthearted enough job. Until a mysterious vinyl record shows up, in a box decorated with a vaguely threatening symbol. When they play it on the air, a grinding, dreadful melody flows out across town, causing strange, hypnotic behaviour among the women of the area. Heidi starts having hallucinations and shocking daytime visions of terrible things, which lead her down a path of distraught behaviour and confusion. Something evil is brewing again in Salem, something to do with Heidi, and her three cackling landladies (Judy Geeson, Patricia Quinn and Dee Wallace). A local author (Bruce Davison, excellent) is onto it and believes he can prevent it from happening. The film has a classically satanic, sort of 1970’s vibe, clearly a throwback to oddball horror stuff from back then, like flicks from Ken Russell and the like. There’s an almost psychedelic aura to it, and indeed visually the film looks just stunning, alternating from dirty, lived in frames, to nightmarishly baroque, surreal set piece shrouded in smoke and thoughtful, painstaking production design. Anyone who’s said Moon Zombie can’t act in the past should bite their tongue with this one; she displays a believable, slow burning picture of an unraveling mental state, a girl deeply in trouble. Meg Foster gives an unrecognizable performance that will make you want to hide behind the couch, as the feral leader of the original Coven, Margaret Morgan. There’s also nice work from Richard Fancy, Andrew Pine and Maria Conchita Alonso. It’s a new leap for Rob Zombie, film wise, but he handles the brooding side of horror quite well, and even in a chaotic, balls to the wall final sequence of wtf-ness, he never goes loud and crude like he has in the past, keeping it reigned in to an atmospheric minimum. Not a film for everyone, but any fan of this type of horror will be pleased.

Other Information:

Original Language en
Runtime 1 hr 41 min (101 min)
Budget 1500000
Revenue 1165882
Status Released
Rated R
Genre Horror, Thriller
Director Rob Zombie
Writer Rob Zombie
Actors Sheri Moon Zombie, Meg Foster, Bruce Davison
Country Canada, United States
Awards 1 win & 3 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.39 : 1
Camera Red One MX, Panavision Primo, C- and E-Series Lenses
Laboratory LightIRON Digital, Los Angeles (CA), USA (digital intermediate)
Film Length N/A
Negative Format Redcode RAW (4.5K)
Cinematographic Process Digital Intermediate (2K) (master format), Panavision (anamorphic) (source format)
Printed Film Format 35 mm, D-Cinema