Before being sent to serve in Vietnam, two brothers and their girlfriends take one last road trip, but when they get into an accident, a terrifying experience will take them to a secluded house of horrors, with a chainsaw-wielding killer.
Tommy Jarvis goes to the graveyard to get rid of Jason Voorhees' body once and for all, but inadvertently brings him back to life instead. The newly revived killer once again seeks revenge, and Tommy may be the only one who can defeat him.
Still haunted by his past, Tommy Jarvis - who, as a child, killed Jason Voorhees - wonders if the serial killer is connected to a series of brutal murders occurring in and around the secluded halfway house where he now lives.
A couple encounters a perverted gas station attendant who threatens them with a shotgun. They take a deserted path in Texas to seek help, but only meet up with a cannibalistic clan interested in helping themselves to fresh meat. Written by
Mark J. Popp <email@example.com>
Caroline Williams' "Stretch" character from Texas Chainsaw Massacre 2 has a cameo as a news reporter. Director Jeff Burr said he imagained "Stretch" becoming a reporter in an attempt to hunt down Leatherface. See more »
This movie supposedly takes place out in the middle of nowhere, miles away from anybody, but numerous times throughout the movie you can see lights from houses in the background See more »
[after peeping on Michelle in the bathroom]
She likes it. She likes it just fine. Just ask her!
Why don't you just shut up, stupid.
You shut the fuck up, motherfucker. This is my place! I'll do whatever I want here in my place!
See more »
I'm actually really surprised at all the positive reviews for this film
here, considering its horrible reputation.
Made on a shoestring budget with no-name actors (at least at the time,
obviously Viggo went on to A-list-ish status) obviously there is
nothing new or original here about this outing, as can be said of most
sequels. Hooper's 1974 film said and did everything that needed to be
said and done (the documentary style,iconic villain, the creation of
the"slasher-film template", the unrelenting suspense, the post-Vietnam
worldview, the subtle political underpinnings about consumerism,
greed,and the decay of the nuclear family, etc....). That film is an
unparalleled masterpiece, and even Hooper's own follow up really didn't
hold a candle or need to exist(although it was crazy, offbeat, quality
cult film making on its own terms)so a third entry would seem a
complete waste of time.
So why even pay part III any attention? My adoration for it relies
solely because of the first half of the film, which is very well-done
and far superior to the second half. For starters, the acting is fine
across the board: Kate Hodge and William Butler, as the film's yuppie
protagonists, are natural and serviceable in their roles, nothing
award-winning or show-stopping, but subtle and absorbing enough to not
take viewers out of the film, like many of its lesser ilk (slasher
films in this era typically had bottom-of-the-barrel talent).
The cinematography is also imaginative and stylized (i.e. the entire
"gas station peepshow sequence" is fantastically shot and executed; the
angle of our heroine through the cracked mirror, the claustrophobic
lighting, the POV's from the peephole). And note Kate Hodge's reactions
during this scene: she genuinely seems creeped out and uncomfortable,
and her reactions of fear and confusion in the scenes that follow are
equally convincing. It's an underrated performance, in a film with
uniformly underrated performances.
The film's pacing in this first half is also impressive- from the
deceptively mundane car conversation that opens the film to the bizarre
"body pit" sequence which was so absurd, awkward, yet somehow plausibly
creepy, indeed, it bordered on parody, (but then, this film as a whole
can be seen almost as a parody), to the armadillo murder scene, then
the gas station sequence: all these sequences are knowing winks to the
first film, but because the film modernizes them, it benefits as it
places the viewers in the "now" instead of the "then" (the original's
documentary feel is one of the film's greatest strengths, but years
later, it does give one the feeling of watching historical
news/documentary footage of something that already occurred-again,part
of the film's raw, unnerving power, to be sure). But this film is set
in 1990, so a documentary approach just wouldn't work, not to mention
it would be derivative, redundant, and just simply out-of-place. So
it's a credit to Burr and cinematographer James L. Carter, who later
proved himself a real talent with more mainstream gigs, that they
remained faithful to the mood of the original while taking some new
And how about that "truck-chase/changing the tire" sequence? I LIVE for
scenes like this and sadly, modern horror films just don't take us here
anymore: the ominous, yet minimalist soundtrack, slow-burn pacing,
effective use of that lantern light, and again, Kate Hodge seems
genuinely freaked out in this scene, you can really put yourself in her
shoes, and the boyfriend's reaction of incredulity, anger and
frustration...there is some commendable attempt at realism here, a
truly tense and nerve-jangling scene. Also, dare I say that the
atmosphere in this scene comes the closest out of any film in the
series to matching the "flashlight fight between Sally and Franklin" in
the original film? It's that uncomfortable mix of anxiety,frustration,
and dread that Hooper created so well that I think is unfairly
overlooked in this sequel.
Okay, so that's the first half. The second half is simply not as
effective. It becomes, like I mentioned earlier, almost a parody of the
first film, with an uneven mix of horror and (attempted) black comedy.
There are HINTS of wit and social commentary (the mocking by one of the
chainsaw clan of the elitist "California" couple's underwear, Ken
Foree's completely out-of-place military survivalist, and Leatherface's
hilarious scene with the Speak and Spell that somehow manages to evoke
sympathy from viewers), but these clever bits don't really SAY anything
or add insight. The one saving grace that makes the second half worth
sitting through however, is Kate Hodge's transformation from genteel
yuppie to traumatized bad ass. A nice touch and homage to Sally in the
But then comes the final shot, which is almost as if director Burr
threw up his arms and said "alright, time for the trendy 80's slasher
movie ending....this ain't no art film after all". And of course it
leaves room for yet another sequel. Shame, shame, Burr.
And there you have it: LEATHERFACE, the wildly uneven, sometimes
ambitious, but always amusing, what should-have-been the final word on
an already dying franchise, and more notably, sub-genre that would
never quite be the same. As we all know, SCREAM followed 6 years later,
and the slasher film became a cultural artifact only to be mocked,
parodied, and "post-modernized" to a new generation of film goers, most
of whom, ironically, weren't even alive when their genre forefathers
were in their heyday. So in that context, we should be grateful for
earnest little films like TCMIII, which, while far from perfect, mark
the end of an innocent and forgotten era of irony-free slasher film
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