CineVue by Martyn Conterio

31 is a horror show delivered in hammer blows, or 'Whitechapel-style'. You either dig it or you don't.

Los Angeles Times by Noel Murray

The Rob Zombie brand promises hard-core horror and scuzzy atmosphere, and “31” delivers just that. Even on autopilot, Zombie makes movies that hit hard and leave a stain.

The Guardian

A cinematic Jägerbomb: definitely not good for you, but gets the job done.

Slant Magazine by Chuck Bowen

It collapses into repetition and unintended self-parody, as it's devoid of the subtext and empathetic audacity.

We Got This Covered by Matt Donato

There’s not a single character worth caring about, and even less artistic licence to appreciate. This is a dirty, depraved love-letter to horror that’s written in a bunch of different colored crayons to mask such simple words with distracting colors.

Variety by Dennis Harvey

Rob Zombie truly loves horror movies. But he still hasn’t made a good one, and “31” is a perfect encapsulation of the reasons why: It’s a fanboy’s highlight reel of homages, without any of the credibility or context that made most of the films he’s inspired by so fine.

The A.V. Club by A.A. Dowd

Zombie’s new movie, 31, is all attitude. It’s also the worst thing he’s ever made—interminable, incoherent, and devoid of suspense.

Screen Daily by Kim Newman

Zombie’s filmmaking career began with inventive pop videos for his band White Zombie and he can still frame an interesting shot or layer in an unusual and affecting snatch of music, but after six features he still can’t come up with a fresh story, write characters with more depth than their make-up or direct stalking scenes that are suspenseful or moments of gory violence that are shocking.

Screen International by Kim Newman

Zombie’s filmmaking career began with inventive pop videos for his band White Zombie and he can still frame an interesting shot or layer in an unusual and affecting snatch of music, but after six features he still can’t come up with a fresh story, write characters with more depth than their make-up or direct stalking scenes that are suspenseful or moments of gory violence that are shocking.

The Hollywood Reporter by John DeFore

There's not a scary moment in the movie, and its characters are neither likable enough to root for nor so repulsive we eagerly await their deaths.

Consequence by Michael Roffman

It’s an unnecessary, monotonous, 102-minute scrapbook of better horror films that fails to muster even a spark of originality.

Consequence of Sound by Michael Roffman

It’s an unnecessary, monotonous, 102-minute scrapbook of better horror films that fails to muster even a spark of originality.