Posts Tagged ‘Tobe Hooper’

Theatrical Viewings:

  1. SHIN GODZILLA (Hideaki Anno & Shinji Higuchi, 2016)

Home Viewings:

  1. NEKROMANTIK (Jörg Buttgereit, 1987)
  2. NEKROMANTIK 2 ((Jörg Buttgereit, 1991)
  3. DER TODESKING: THE DEATH KING ((Jörg Buttgereit, 1990)
  4. DEATH BED: THE BED THAT EATS (George Barry, 1977)
  5. LAST HOUSE ON DEAD END STREET (Roger Watkins, 1977)
  6. EYES WITHOUT A FACE (Georges Franju, 1960)
  7. VAMPYR (Carl Theodor Dreyer, 1932)
  8. COUNTESS DRACULA (Peter Sasdy, 1971)
  9. THE BLOOD SPATTERED BRIDE (Vicente Aranda, 1972)
  10. VAMPYRES (José Ramón Larraz, 1974)
  11. THE STRANGE VICE OF MRS. WARDH (Sergio Martino, 1971)
  12. THE CASE OF THE SCORPION’S TAIL (Sergio Martino, 1971)
  13. ALL THE COLORS OF THE DARK (Sergio Martino, 1972)
  15. TORSO (Sergio Martino, 1973)
  16. WHAT HAVE YOU DONE TO SOLANGE? (Massimo Dallamano, 1972)
  17. SEVEN BLOOD-STAINED ORCHIDS (Umberto Lenzi, 1972)
  18. SPASMO (Umberto Lenzi, 1974)
  19. BLOOD FEAST (Herschell Gordon Lewis, 1963)
  20. BUFFY THE VAMPIRE SLAYER (Fran Rubel Kuzui, 1992)
  21. CRITTERS (Stephen Herek, 1986)
  22. THE TEXAS CHAINSAW MASSACRE 2 (Tobe Hooper, 1986)
  24. FROM BEYOND (Stuart Gordon, 1986)
  25. A VIRGIN AMONG THE LIVING DEAD (Jess Franco, 1973)
  26. FEMALE VAMPIRE (Jess Franco, 1975)
  27. STRANGELAND (John Pieplow, 1998)
  28. WAXWORK (Anthony Hickox, 1988)
  29. HORROR OF DRACULA (Terence Fisher, 1958)
  30. DRACULA: PRINCE OF DARKNESS (Terence Fisher, 1966)
  31. THE RETURN OF GODZILLA (Koji Hashimoto, 1984)


  1. BOB’S BURGERS, 6×13-6×19
  2. FAMILY GUY, 14×01-14×20
  3. GAME OF THRONES, 1×01-1×10, 2×01-2×10, 3×01-3×10, 4×01-4×10

Theatrical Viewings:

  1. HAPPY MOTHER’S DAY, LOVE GEORGE (Darren McGavin, 1973, 16mm)

Home Viewings:

  1. THE HOWLING (Joe Dante, 1981)
  2. HOWLING II: YOUR SISTER IS A WEREWOLF (Philippe Mora, 1985)
  3. HOWLING III: THE MARSUPIALS (Philippe Mora, 1987)
  5. DUNE (David Lynch, 1984)
  6. HOWLING V: THE REBIRTH (Neal Sundstrom, 1989)
  7. HOWLING VI: THE FREAKS (Hope Perello, 1991)
  8. INVISIBLE INVADERS (Edward L. Cahn, 1959)
  9. JOURNEY TO THE SEVENTH PLANET (Sidney W. Pink, 1962)
  10. STRANGE INVADERS (Michael Laughlin, 1983)
  11. INVADERS FROM MARS (Tobe Hooper, 1986)
  12. PLANET OF THE VAMPIRES (Mario Bava, 1965)
  13. HOWLING: NEW MOON RISING (Clive J. Turner, 1995)
  14. CRUMB (Terry Zwigoff, 1994)
  15. CHUCK AND BUCK (Miguel Arteta, 2000)
  16. THE ROOM (Tommy Wiseau, 2003)
  17. ROOM 237 (Rodney Ascher, 2012)
  18. THE WIZARD (Todd Holland, 1989)
  19. ERNEST GOES TO CAMP (John R. Cherry III, 1987)
  20. ERNEST GOES TO JAIL (John R. Cherry III, 1990)


  1. FAMILY GUY, 13×14-13×19
  2. AMERICAN DAD, 1×01-1×04
  3. SEINFELD, 1×01-1×05
  4. THE SIMPSONS, 2×01-2×06

Theatrical Viewings:

  1. MALEFICENT (2014) – directed by Robert Stromberg
  2. LABYRINTH (1986) – directed by Jim Henson
  3. THE TEXAS CHAINSAW MASSACRE (1974) – directed by Tobe Hooper
  4. THE DANCE OF REALITY (2013) – directed by Alejandro Jodorowsky

Home Viewings:

  1. THE WHITE RIBBON (2009) – directed by Michael Haneke
  2. AMOUR (2012) – directed by Michael Haneke
  3. THE DICTATOR (2012) – directed by Larry Charles
  4. THE THING FROM ANOTHER WORLD! (1951) – directed by Christian Nyby and Howard Hawks
  5. UNDER THE SKIN (2013) – directed by Jonathan Glazer (2nd viewing)
  6. KISS ME DEADLY (1955) – directed by Robert Aldrich
  7. THE KILLING (1956) – directed by Stanley Kubrick


  1. THE TRANSFORMERS: GENERATION ONE, 1×01-1×16, 2×01-2×14
  2. MYSTERY SCIENCE THEATER 3000, “Hobgoblins,” “The Final Sacrifice”

TEXAS CHAINSAW 3D (2013) - directed by John Luessenhop

The TEXAS CHAINSAW MASSACRE has had such a checkered history that the prospect of yet another entry in the franchise is a frightening one indeed. Particularly another reboot, which if you’re counting, marks the third in the series, with LEATHERFACE: TCM 3 (1990) and the glorified Parasuco Jeans commercial produced by Michael Bay, being the other two.

However, John Luessenhop’s TEXAS CHAINSAW 3D is an anomaly in the current trend of horror movie remakes in that it actually gets things right.

Unlike any of the sequels and remakes that predate it, including, dare I say, Tobe Hooper’s own 1986 sequel, this film actually feels like a spiritual follow-up to the original that manages, in part, to capture the visual and visceral feel of the 1974 classic. The cinematography captures daytime Texas in a similarly bright and colorful fashion while managing to create a pretty suspenseful series of nighttime set-pieces featuring Leatherface terrifying a new generation of promiscuous young-ins.

The film also decides to pull a HALLOWEEN: H20 (1998) by completely (and wisely) disregarding the entire TCM mythology and having it take place directly after the events of the original film. By doing so, the film is given tremendous liberty in being able to experiment with the Leatherface character and giving him an added dimension of humanity that is both thrilling and oddly touching.

This will (and has) certainly angered some fans. But if there’s one thing I’ve learned about genre fans it’s that they don’t know what they want. They often complain about seeing the same thing all the time but when a filmmaker comes around and tries to offer a new spin on a timeless concept, they chew him/her out and demand said concept to be presented the way it’s always been.

Director Luessenhop does a good job of balancing the two by taking the TCM series in a bold new direction with the character while still paying loving homage to the landmark classic by providing the horror beats that fans come to expect in these types of films.

Of course, the film is not without its flaws.

While TC3D is an awful lot of fun, it’s awfully dumb too. An argument could be made that horror films in general are pretty dumb and require a suspension of disbelief that’s downright astronomical. But in TC3D, this argument is taken to the next level with perhaps the cardinal sin being a sequence in which our heroine, Heather and her friends pick up a random hitchhiker and decide to leave him in charge of guarding the mansion she just inherited that contains an abundance in wealth while they go off to pick up some groceries. Needless to say, he robs them but in a bit of poetic justice, gets more than he bargained for.

Then there’s the issue of when exactly this film takes place. While the opening sequence takes place in 1974, the majority of the story takes place in an undisclosed time period that judging from the age of the main character, would seem to indicate the late ’90s. If that’s the case, then one of the major set-pieces involving Facetime is outright laughable as I don’t seem to recall owning an iPhone(!) during my later years in high school. However, if the film is meant to take place in 2012, then Heather ought to share her lack of aging secret as for a 40-year old woman, she looks 20.

And finally, while the idea of making Leatherface a more down-to-Earth character and almost justifying his murderous ways by claiming he’s mentally handicapped may have been noble, it does bear questioning how this gets the rest of the Sawyer clan off the hook as the acts they perpetrated in the original film were equally, if not more evil given they were fully aware of what they were doing and loving every minute of it.

On another note, as far as the use of 3D goes, after watching Peter Jackson’s THE HOBBIT: AN UNEXPECTED JOURNEY (2012) in HFR 3D (48fps), I’ve been spoiled rotten by what a real 3D film ought to look like so truth be told, any film not shot in that format is going to look like crap as far as I’m concerned. But then again, I didn’t go into TC3D with the idea I was going to watch a James Cameron-esque revolutionary take on the technology.

So all in all, John Luessenhop’s TEXAS CHAINSAW 3D may not necessarily go down in history as being one of the better horror films of all-time but it ought to go down as being one of the more worthy ones as it takes some admirable chances with the material and certainly paves the way for a new slew of sequels based on the latest Leatherface space/time continuum.