[31 Days of Horror Part VI: Jason Lives] Day 31 – Halloween: The Curse of Michael Myers (1995)

Director: Joe Chappelle

Cast: Donald Pleasence, Paul Rudd, Marianne Hagan, Mitchell Ryan

Screenplay: Daniel Farrands

87 mins. Rated R for strong horror violence, and some sexuality.

 

Well, it’s the end of October, and we find ourselves at the end of 31 Days of Horror. I’ve enjoyed it very much, and I hope you have as well. Like any October ending, we find ourselves at Halloween, and today we’ll be talking about The Curse of Michael Myers, the sixth and arguably most controversial in the series. Let’s get started.

It’s been six years since Jamie Lloyd, Michael Myers, and the Man in Black disappeared from Haddonfield, and Dr. Loomis (Donald Pleasence, The Great Escape, Fatal Frames) has very much retired, but his old friend from Smith’s Grove, Dr. Wynn (Mitchell Ryan, Gross Pointe Blank, TV’s Dharma & Greg), informs him that he has suggested Loomis as a replacement, and now the body of Jamie Lloyd has been found, and Tommy Doyle (Paul Rudd, Ant-Man, Between Two Ferns: The Movie), survivor of Michael’s killings from back in 1978, has discovered that Jamie had been pregnant and given birth, and MIchael’s after the baby, being the last-known family he has. Loomis, Tommy, and the baby must now contend with the dangerous Michael and the insidious Man in Black who both want the baby.

If you read that synopsis and you’re asking yourself, “Wait! Isn’t this supposed to be a Halloween movie?” then don’t worry. You are in the right place. Much like Jason Goes to Hell, Halloween: The Curse of Michael Myers was made to expand the mythology of Michael Myers by connecting all the previous films (minus Season of the Witch) and answer the questions that the previous film asked while forging a path for future sequels. Well, that’s a tall order, and it’s the most likely reason why this movie turned into such a bonkers disaster.

The screenplay, Frankensteined together but credited to just one writer, Daniel Farrands (The Amityville Murders, The Haunting of Sharon Tate), tried to give a good answer to the mysterious ending to Halloween 5, one that the writers of that film weren’t even sure of, and so the Cult of Thorn was established, a wacko group that protects Michael and helps him accomplish his task of murdering his family members. That’s probably the least-strange new element to the film. The mystery of the Man in Black is given here too, but you probably won’t care about the answer, and then there’s the whole maybe-possible-incest thing in the script that’s not just strange and gross but also really stupid, but hey, in the age of Game of Thrones, maybe this subplot works. Probably not.

Donald Pleasence does solid Loomis work again on his last film appearance as the character, and Paul Rudd’s debut performance is weird enough to fit the crazy plotline of this entry (though he’s still a bit much), but there isn’t much of what I’d call acting in the film. I can’t say I blame a lot of the actors, though, because they signed on for one movie and ended up making another, using a script that was referred to as incomprehensible.

There is a Producer’s Cut of the film that fixes some of the narrative problems but not all, compiled from footage that was shot and cut after a bad test screening, and it’s not a better version, just a different one. It also introduces more subplots that aren’t ever tied up. Safe to say that, no matter which version you see, it’s a mess of a film.

I cannot defend Halloween: The Curse of Michael Myers. As a child, it actually scared the hell out of me. It’s a more cruel version of Michael Myers, and for that, it affected me a lot as a kid, so I will say that part of me prefers this one to the fifth film, but they are both among the bottom of the barrel of the Halloween franchise. It’s sequels like this one that make that whole retcon thing that Halloween 2018 did make sense.

 

1.5/5

-Kyle A. Goethe

 

 

For more 31 Days of Horror, click here.

For my review of John Carpenter’s Halloween, click here.

For my review of Rick Rosenthal’s Halloween II, click here.

For my review of Tommy Lee Wallace’s Halloween III: Season of the Witch, click here.

For my review of Dwight H. Little’s Halloween 4: The Return of Michael Myers, click here.

For my review of Dominique Othenin-Girard’s Halloween 5: The Revenge of Michael Myers, click here.

[31 Days of Horror Part VI: Jason Lives] Day 30 – Silent Night, Deadly Night 4: Initiation (1990)

Director: Brian Yuzna

Cast: Clint Howard, Neith Hunter, Tommy Hinkley, Reggie Bannister, Allyce Beasley, Maud Adams

Screenplay: Woody Keith

90 mins. Rated R.

As October comes to a close, it is perhaps time to look to the future, and after Halloween, I look straight to Christmas. Christmas is magical. Christmas is wonderful. And without a doubt, Christmas is terrifying, especially for the characters in tonight’s film, the fourth in a famous, or infamous, holiday horror franchise. That’s right, we are talking Silent Night, Deadly Night 4: Initiation.

Kim (Neith Hunter, Near Dark, Liar’s Poker) is a classified ads editor for the L.A. Eye, a newspaper run by a misogynistic boss who just won’t give her a chance to prove herself as a journalist. So when the lucky opportunity arises to investigate the death of a woman due to apparent spontaneous combustion, she leaps at the chance. As Kim uncovers layers of the mystery, she is drawn into a group of women who take an odd interest in her. What do they want? Are they conmected to the death? The answer…is yes. Yes, they are.

The films in this series are all so bad that it would be tough to actually rank them against one another. I would sa that at least the first two are laughably bad, a win in this scenario, and while I like director Brian Yuzna (Beyond Re-Animator, 60 Seconds of Solitude in Year Zero), I don’t think that this film is good at all. It’s so jumbled, as if there was a bunch of exposition that went missing and had to be hastily rewritten from memory.

The film doesn’t really have any likable characters, a trait quite common with Yuzna’s films. This isn’t a knock in some cases, as I’ve said before, as long as characters are interesting. The issue is that none of these characters are developed enough to be interesting, like Fima (Maud Adams, Octopussy, The Seekers), the most notable member of the cultish group of women, or Ricky (Clint Howard, Apollo 13, 3 From Hell), who is not the Ricky of the previous films.

There are some sweet effects in the film for any fan of the macabre, even if they are few and far between. The way Kim’s psyche goes off the rails works really well from an effects standpoint. There just aren’t enough cool moments to justify 90 minutes.

Silent Night, Deadly Night 4: Initiation is not good, but that’s to be expected. What’s most disappointing is that, unlike the previous installments, it’s not even enjoyably bad. It’s just a missed opportunity in just about every way.

1.5/5

-Kyle A. Goethe

[31 Days of Horror Part VI: Jason Lives] Day 29 – [Happy 20th Birthday!] House on Haunted Hill (1999)

Director: William Malone

Cast: Geoffrey Rush, Famke Janssen, Taye Diggs, Ali Larter, Bridgette Wilson, Peter Gallagher, Chris Kattan

Screenplay: Dick Beebe

93 mins. Rated R for horror violence and gore, sexual images and language.

 

I heard that House on Haunted Hill is celebrating its 20th anniversary this year, and I absolutely had to rewatch this film. The last time I interacted with this property was when I watched the sequel, Return to House on Haunted Hill, many years ago, so this was a perfect opportunity to revisit this 90s horror film.

Stephen Price (Geoffrey Rush, The King’s Speech, Final Portrait) is throwing his wife a hell of a birthday party by inviting some guests to the Vannacutt Psychiatric Institute for the Criminally Insane, a now-closed former asylum where the patients revolted and murdered most of the staff sixty years earlier. The invites have gone out, and guests have started to arrive. There’s only one problem. All of the guests who arrive are people that neither Stephen nor his wife Evelyn (Famke Janssen, X-Men: The Last Stand, Asher) had invited. Stephen and Evelyn each suspect each other of a murder plot, but Stephen’s not going to let his plan go south, and he offers each of the guests a million dollars for staying the night in the house. Evelyn has plans of her own for the night, but the House on Haunted Hill has plans for all of them tonight.

Let me preface everything I’m about to say here. This is not a good movie. In fact, it’s a bad movie. Like many of Dark Castle’s films from the late 90s/early 00s, House on Haunted Hill is super-cheesy and super-silly and super-dumb. There’s a whole lot of bad surrounding this film including an upping-the-ante from the original film’s over-the-top premise. The Stephen-Evelyn dynamic is so excessive throughout. House on Haunted Hill is batshit.

It’s also so-bad-it’s-good in a lot of ways. It’s a bad movie that is so much fun to watch for some of its elements. Let’s talk about the bad stuff that surprisingly works. I love Stephen and Evelyn upon a rewatch. Seeing them both suspect each other of murder while also plotting the very same thing is a lot of fun. I believe that Geoffrey Rush knows exactly what kind of movie he’s in and he plays to it well. This is the strength of getting an actor like Rush to do horror. He gets the movie.

Chris Kattan (A Night at the Roxbury, TV’s Bunnicula) also kills it as Pritchard, the guy that is an exposition-machine/comic-relief for the film. He mixes his unhinged performance into the exposition and comedy and it’s just so crazy. He is perfectly cast in this film and becomes an equal to Rush’s Stephen Price.

I also like the idea of an all-consuming evil inhabiting the house is really cool. Some of the CG near the end of the film hasn’t aged well enough to work, but as a plot element, it’s still very fun. Many of the effects in the film still look pretty cool, especially how Dr. Vannacutt’s ghost doing that shaky-shaky effect, but the darkness effect is pretty bad.

So what doesn’t work in the film? Most of the remaining cast. Outside of Rush, Kattan, and Peter Gallagher (American Beauty, TV’s Grace and Frankie), no one in the film really know what film they’re in. We spend just as much time as possible with many of the other party guests, and the scenes they appear in go absolutely nowhere.

House on Haunted Hill is a movie that works despite all the bad things in the movie. Don’t get me wrong. It’s not a good movie, but it’s bad works pretty well if you see it from a certain point of view. I would suggest it as a solid 90s B-horror film.

 

2.5/5

-Kyle A. Goethe

 

 

For more 31 Days of Horror, click here.

[31 Days of Horror Part VI: Jason Lives] Day 28 – Poltergeist II: The Other Side (1986)

Director: Brian Gibson

Cast: Jobeth Williams, Craig T. Nelson, Heather O’Rourke, Oliver Robins, Julian Beck, Zelda Rubinstein, Will Sampson, Geraldine Fitzgerald

Screenplay: Mark Victor, Michael Grais

91 mins. Rated PG-13.

  • Academy Award Nominee: Best Effects, Visual Effects

 

Poltergeist is now considered a classic American horror film, so it seems only natural that there would be a sequel, but it still surprises me whenever I talk to someone about the Poltergeist sequels, many of them do not know of their existence, but there is a strong cult following for them. It’s been some time since I visited the series, and now seemed a perfect time for it.

It’s been a year since the Freelings experienced powerful poltergeist activity at their home in Cuesta Verde, and they’ve moved on to a new home and life has returned, as much as it can, to normal, but when Tangina Barrons (Zelda Rubinstein, Southland Tales, Sixteen Candles) discovers that the evil at the old Freeling home is still present, she sends a friend, Taylor (Will Sampson, One Flew Over the Cuckoo’s Nest, The Outlaw Josey Wales) to meet with the Freelings and help them. At the same time, a mysterious preacher named Kane (Julian Beck, The Cotton Club, 9 1/2 Weeks) shows up with an interest in Carol Anne (Heather O’Rourke, Around the Bend, Surviving).

The performances are all very fine in the film. It feels like the Freelings have evolved in the year since the first film. They are both distraught that the spirit is still wreaking havoc on the film, but it also feels like their prepared for it this time. Jobeth Williams (The Big Chill, Alex & the List) runs the house again as Diane. She wears the pants in the family and husband Steve (Craig T. Nelson, The Incredibles, Book Club) is just along for the ride. The two have great chemistry together.

Screenwriters Mark Victor and Michael Grais (Cool World, Secrets of the Unknown) did a great job of evolving and progressing the mythology of the first film. It’s one of my favorite elements of the sequel. The mythology around The Beast in this film is really cool. The big problem with their scary movie, though, is that it isn’t scary. There’s very little actual poltergeist activity for most of the film, and a lot of it is been there, done that. There’s only one moment that’s very memorable, and it involves a sequence beginning with tequila that I won’t ruin for you. It’s a great sequence in an otherwise unscary movie.

The Poltergeist Curse lived long through this film. There’s something very chilling about the real-life horrors surrounding this franchise. Actress Dominique Dunn, who played Dana, the eldest Freeling, was murdered by her ex-boyfriend just after the first film was released.Apparently, the plan was to send her to college in the sequel, but of course these scenes could not be filmed.  I respect that they didn’t recast or work around it because it lets her character find some peace. Then there’s issue of Julian Beck dying of stomach cancer before this film’s release. He wasn’t able to complete post-production work as Kane. I know it doesn’t mean anything to the merit of the film, but it’s interesting and disturbing the amount of real-world death that is connected to this film.

Poltergeist II: The Other Side is a lesser film to its predecessor, but there’s some interesting world-building to this sequel, world-building that doesn’t take away from the creep factor of its central specter. The flaw though is that the film isn’t as creepy or scary as the first and it’s noticeably devoid of anything scary for at least the first hour of the movie. Things start to heat up near the end, but it took me out of the movie by that point and I was really just watching for the story, which is engaging. Still, though, fans of the first film may find some enjoyment out of this second film. I found a bit.

 

3/5

-Kyle A. Goethe

 

 

For my review of Tobe Hooper’s Poltergeist, click here.

[31 Days of Horror Part VI: Jason Lives] Day 27 – [Happy 30th Birthday!] Shocker (1989)

Director: Wes Craven

Cast: Michael Murphy, Peter Berg, Cami Cooper, Mitch Pileggi

Screenplay: Wes Craven

109 mins. Rated R.

 

From 1987 to 1989, four horror films were released featuring killers who come back after dying in the electric chair. This was the last.

Brutal serial killer Horace Pinker (Basic Instinct, TV’s The X-Files) has been apprehended and is sentenced to death via electrocution, but on the fateful day, electrical issues and strange rituals combine to produce a hell of an accident, though Pinker still fries. Now, Jonathan Parker (Peter Berg, Very Bad Things, Mile 22), a young man who was able to assist in the capture of Pinker, discovers the murderer to be very much still active, living on as an electrical current able to inhabit other humans and use their bodies for vengeance. The only skill Jonathan has is in the form of strange visions accompanied by the ghostly visage of his dead girlfriend. Now, Jonathan will have to man up and stop Pinker from continuing his murderous rampage, or it’s lights out for him…

I’ve spoken about this before, but I firmly believe that Wes Craven (A Nightmare on Elm Street, Scream) was a great director. That’s not exactly a hot take or anything, so here’s one: I don’t think he was a very good writer. Sure, he wrote some amazing work. He was great with ideas in the same way that George Lucas is. I just don’t think he really was able to get those ideas to work on the page. That’s not a slight or anything, but look at a film like Shocker, which has some really cool ideas but the story is a bit of a mess. There’s all these random things happening in the screenplay that are never followed up on. Why does Jonathan have visions of Horace? How exactly do they work? Why do all of his friends and his coach immediately believe his batshit theory? Why does his dead girlfriend keep coming back to help him? What exactly did Horace do to come back from the dead? He’s seen performing some sort of ritual, but we never hear about it afterward.

Beyond all that, the film is far too similar to A Nightmare on Elm Street. There are elements of dreaming and nightmares and dreamscapes in the film that feel a little too familiar. For the most part, these elements just made me wish I was watching Nightmare instead. Both Nightmare and Shocker have similar opening titles, disbelieving fathers, and power through dreams.

Mitch Pileggi is batshit as Horace Pinker. He’s all the parts of Freddy Krueger that became more prominent in the later sequels, especially the attempts at humor. I like how visceral he is, how brutish, but he just didn’t work in the way I hoped he would.

Speaking of batshit crazy, let’s talk about the television scene. It’s near to the end of the film, where Jonathan and Horace end up in a television set and are fighting across the different channels. It sounds cooler than the finished product, but it kind of fails where the fight sequence in They Live succeeds.

So there you have it. There are better Wes Craven films, but I have the feeling that some people will love how terrible this movie is. It just didn’t work for me. There’s too much all-over-the-place in this movie and I couldn’t connect with any of it. Just didn’t work for me, dog.

 

2/5

-Kyle A. Goethe

 

 

For my review of Wes Craven’s A Nightmare on Elm Street, click here.

For my review of Wes Craven’s Vampire in Brooklyn, click here.

[31 Days of Horror Part VI: Jason Lives] Day 26 – In the Tall Grass (2019)

Director: Vincenzo Natali

Cast: Patrick Wilson, Harrison Gilbertson, Rachel Wilson, Laysla De Oliveira, Avery Whitted

Screenplay: Vincenzo Natali

101 mins. Rated TV-MA.

 

Stephen King is having a hell of a year. Between It: Chapter Two, Doctor Sleep, Pet Sematary, Castle Rock, Mr. Mercedes, and the upcoming Lisey’s Story, The Stand, The Outsider, and probably more than that, he’s having a damn good year, and now, the novella he cro-wrote with son Joe Hill has been adapted into the new Netflix Original Film In the Tall Grass.

Becky (Laysla De Oliveira, Acquainted, One by One) and her brother Cal (Avery Whitted, The Vanishing of Sidney Hall) are on their way to San Diego when they, upon stopping to rest near an old church, hear the voice of a child coming from the tall grass near them. The voice claims to be lost and scared, and Becky and Cal go in to find the young boy, but upon entering the grass, they discover that it is far more difficult to find an exit, and there is something sinister buried deep within the grass.

Writer/director Vincenzo Natali (Cube, ABCs of Death 2) does the most that he can possibly do to make a boring background like standing in grass. Seriously, there are so many impressive shots in the film that elevate a simple setting into an elaborate one. The difficult in a film like In the Tall Grass is that you have limited characters and limited settings and you have to create a dynamic film where it actually feels like the characters are going somewhere. It doesn’t always work in the film, but when it does, it works very well.

The cast is fine, but Patrick Wilson (The Phantom of the Opera, Annabelle Comes Home) steals every scene he’s in as Ross Humboldt, a man who went into the tall grass with his wife and son and thinks he knows a way out. There are sequences in the film that feel like they will just be sequences of people yelling for help and yet Patrick Wilson’s Ross is such a unique and interesting fella to throw into the mix.

In the Tall Grass gets really weird and wild as he film goes on, and it becomes a lot more crazy near the end, but I was all in for it. There’s a lot more happening in this film than just a bunch of people lost in a field, but I won’t get into it here. This is a Netflix Original well worth your time. It’s fun and eerie and weird and confusing. I had a lot of fun even though the film is about 10 minutes too long. Still, In the Tall Grass is a lot of fun this Halloween season.

 

4/5

-Kyle A. Goethe

 

 

For more 31 Days of Horror, click here.

For my review of the anthology film ABCs of Death 2, click here.

[31 Days of Horror Part VI: Jason Lives] Day 25 – The Fog (1980)

Director: John Carpenter

Cast: Adrienne Barbeau, Jamie Lee Curtis, John Houseman, Janet Leigh, Hal Holbrook, Tom Atkins, Nancy Loomis

Screenplay: John Carpenter, Debra Hill

89 mins. Rated R.

 

This one does for fog what Jaws did for the water.

There’s a fog rolling into Antonio Bay on the eve of its 100th anniversary, and as soon as the clock strikes midnight, people start seeing strange things in it. Father Malone (Hal Holbrook, Into the Wild, Blackway) discovers an old journal in his church that tells him a terrible secret from the town’s inception, one that involves an old ship called the Elizabeth Dane and its captain, Blake. Now, the Elizabeth Dane has rolled into town on the fog, and its captain is out for vengeance. Radio DJ and lighthouse keeper Stevie Wayne (Adrienne Barbeau, Argo, Creepshow) is the only one who can warn the residents of Antonio Bay that danger is coming; she just hopes they’re listening.

The Fog is proof that director John Carpenter (Escape from New York, The Ward) can just about do anything. He has guys in costumes in a foggy atmosphere with glowing eyes, essentially just tall Jawas, and he makes them scarier than any current CGI could do (and we’re looking at you, 2005 remake to The Fog). It’s because he’s a smart filmmaker who solves problems. He knows that he is making a low-budget, possibly cheesy horror film, and so he chooses to shoot it in anamorphic widescreen Panavision in order to add to the grandeur of the gothically beautiful Antonio Bay layered in fog.

I like how separate Carpenter keeps things in this film. For the most part, Stevie Wayne barely shares the screen with anyone else. She gets her own slice of the story. Then, there’s the story of the hitchhiker Elizabeth (Jamie Lee Curtis, True Lies, Halloween) and Nick (Tom Atkins, Night of the Creeps, Drive Angry) as they try to uncover the mystery in the fog. Then, there’s the Father Malone sequences and the centennial sequences with Kathy (Janet Leigh, Psycho, The Manchurian Candidate) trying to keep the celebration together amidst the lingering danger. The film is filled with great characters in an insane situation. These individual “pocket stories” on their own would be great, but together they weave an eerie and creepy tapestry.

The Fog is truly brilliant. I can see why this is often called a Carpenter favorite. It’s a truly incredible little horror story that makes the ghosts (guys in costumes with glowing eyes) more terrifying than most other films could do with a bigger budget. John Carpenter is a horror maestro, and The Fog is just another master stroke.

 

5/5

-Kyle A. Goethe

 

 

For more 31 Days of Horror, click here.

For my review of John Carpenter’s Halloween, click here.

For my review of John Carpenter’s The Thing, click here.

For my review of John Carpenter and Tobe Hooper’s Body Bags, click here.

For my review of John Carpenter’s In the Mouth of Madness, click here.

For my review of John Carpenter’s Village of the Damned, click here.

[31 Days of Horror Part VI: Jason Lives] Day 24 – Diary of the Dead (2007)

Director: George A. Romero

Cast: Michelle Morgan, Josh Close, Shawn Roberts, Amy Lalonde, Joe Diicol, Scott Wentworth, Philip Riccio, Chris Violette, Tatiana Maslany

Screenplay: George A. Romero

95 mins. Rated R for strong horror violence and gore, and pervasive language.

 

I got into the Living Dead series when around the time that Land of the Dead was released, and I was fairly certain it would be the last time George A. Romero (Monkey Shines, Bruiser) returned to his world of zombies. It just felt like Land of the Dead ended in the right place, but only a few short years later, Romero decided to pick up his camera and make a movie about the first night when the dead rose, this time present in found-footage.

A team of film students making a horror film in the woods are shocked to hear the news reports claiming that the dead are rising and feeding on the flesh of the living. Director Jason (Josh Close, The Exorcism of Emily Rose, Anthem of a Teenage Prophet) and several of the others go looking for Debra (Michelle Morgan, Deep Space, TV’s Heartland), Jason’s girlfriend, and then, the group heads out in search of safe refuge, along the way learning the hardness of life in the apocalypse, while Jason follows along, camera in hand, ready to capture as much of the carnage as possible.

I was extremely excited for Diary of the Dead, and I brought a copy of it home to host a watch party, and while the film is overall fine enough, it was clearly the least-impressive film of the five release at that point. I get the feeling Romero was disconnected from both the youth of 2007 but also the medium of found-footage filmmaking, and there’s several breaks in logic that become noticeable. The film works still but his writing kind of creates flat archetypal characters that are not easy to connect with. It’s more the journey of the film that’s so interesting. So much of Romero’s Living Dead series is confined to a single location. It’s fun to revisit the beginning of the zombie apocalypse in this way.

The performance Michelle Morgan is fine as the lead, but I connected more to Shawn Roberts (Resident Evil: Afterlife, Undercover Angel) as Tony, the brutish foil to Jason, and Tatiana Maslany (Stronger, Destroyer) as Mary, a member of the film crew clearly struggling to understand the situation.

None of the Living Dead films are truly connected, and their timeline is always murky. For example, in Day of the Dead, we see a Stephen King book onscreen, but if the apocalypse started in 1968, Stephen King would probably not be writing. Each film can be placed on a zombie progression timeline but exists on its own. So yes, this film is intended to be set during the events of Night of the Living Dead, but also during 2007, so don’t take it too intentionally, as this has always been the case.

Diary of the Dead is fine overall, but upon release it never was able to reach the level of Night, Dawn, Day, or even Land. It’s okay for fans and creates some interesting narrative around technology and social media sharing, and the cameos are really fun to try and catch (just try to guess the major voices behind the many news recordings), but it isn’t for new fans of Romero.

 

2.5/5

-Kyle A. Goethe

 

 

For my review of George A. Romero’s Night of the Living Dead, click here.

For my review of George A. Romero’s Dawn of the Dead, click here.

For my review of George A. Romero’s Day of the Dead, click here.

For my review of George A. Romero’s Land of the Dead, click here.

For my review of George A. Romero’s Monkey Shines, click here.

[31 Days of Horror Part VI: Jason Lives] Day 23 – The Texas Chain Saw Massacre (1974)

Director: Tobe Hooper

Cast: Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow, Gunnar Hansen

Screenplay: Kim Henkel, Tobe Hooper

83 mins. Rated R.

 

Finally, we come to the day we talk about the iconic horror film that was Based on a True Story: The Texas Chain Saw Massacre. Except, here’s the thing, it’s not based on a true story. In fact, anyone can say that any movie is based on a true story and just roll with it. All you have to do is tangentially connect it to actual events. In the case of The Texas Chain Saw Massacre, it’s based somewhat obscurely on Ed Gein. There you go.

Sally Hardesty (Marilyn Burns, Helter Skelter, Sacrament) and her friends are on a road trip to see her grandfather’s grave and visit the homestead in Texas when they come across several strange people, most notably a hitchhiker (Edwin Neal, Future-Kill, Kill or Be Killed). When they get to the homestead, they separate, and two of the find a house they believe to be abandoned. They are wrong, and they’ve just stepped onto the land of the Sawyer family, and now the entire group is headed on a path with only one destination: death.

I personally don’t enjoy watching The Texas Chain Saw Massacre. It isn’t remotely a fun experience to me. I don’t like any of the characters, and I think it pervades a nauseating feeling. This is partly due to the tone of the film and the score, which is made of slaughterhouse noises. I don’t find joy in the movie, and that’s not entirely a fault on the film. That’s what it’s trying to be.

The funny thing about this film is that it’s assumed that it’s a very bloody, gory experience. Really, the terror is the imagined and the emotional distress that lives within its frames. There’s very little actual blood or gore, but because of the editing and pacing of the film, there’s an assumed level of terror and bloodshed that strictly isn’t there, and it’s one of the reasons that the film earned an X rating the first several times it was submitted.

There are no truly great performances in the film, only iconic ones, particularly with Gunnar Hansen (Campfire Tales, Death House) as Leatherface. He doesn’t get much to do, and the only real acting he does in the film is the final shot. I would also throw some attention to the incredible opening narration by John Larroquette (who claims he was paid for his efforts with a joint), who sets the tone nicely for the film. Everyone else is just screaming and yelling and fighting the whole time.

The Texas Chain Saw Massacre is more myth than perfection. It’s an iconic horror film, but not a particularly great one. It’s good, no doubt, and it sets the precedent for much to follow, and it’s one of the better Tobe Hooper (Poltergeist, Spontaneous Combustion) efforts, so I’ll give it that. But not really the greatest horror film ever made like it’s been noted by some.

 

3/5

-Kyle A. Goethe

 

 

For more 31 Days of Horror, click here.

For my review of Tobe Hooper’s Eaten Alive, click here.

For my review of Tobe Hooper’s Salem’s Lot, click here.

For my review of Tobe Hooper’s Poltergeist, click here.

For my review of Tobe Hooper and John Carpenter’s Body Bags, click here.

For my review of Tobe Hooper’s The Mangler, click here.

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