Texas Chainsaw

Texas Chainsaw, which ignores the series’ sequels and picks up directly after the events of the original, follows a young woman (Alexandria Daddario’s Heather) as she travels to Texas to take possession of an enormous house that she’s just inherited – with problems ensuing for Heather and her friends as it becomes increasingly clear that someone (ie Leatherface) is living in the basement. Overlooking the utterly needless 3D presentation, Texas Chainsaw immediately establishes itself as a significant improvement over the various other entries in this enduring franchise – with, especially, the film standing in sharp contrast to the nigh unwatchable remakes/reboots from Michael Bay’s production company. Director John Luessenhop has infused the proceedings with a briskly-paced sensibility that’s heightened by an ongoing emphasis on appreciatively over-the-top kill sequences, with the admittedly hoary setup paving the way for a narrative that’s been stuffed with fun, gleefully over-the-top set pieces (eg Leatherface at a carnival!) It’s worth noting, too, that Luessenhop thankfully doesn’t shy away from extreme instances of gore (eg Leatherface actually saws one poor sap in half), and, even more impressive, the filmmaker effectively peppers the movie with a handful of surprisingly tense sequences (eg the survivors frantically attempt to open a gate as Leatherface approaches). And just when it seems as though the film is beginning to run out of steam, Luessenhop, working from a script by Adam Marcus, Debra Sullivan, and Kirsten Elms, takes the narrative in an entirely unpredictable (and, admittedly, wholly ridiculous) direction that buoys the viewer’s interest and results in a better-than-expected third act – which ultimately cements Texas Chainsaw‘s place as a consistently engaging horror sequel that is, for the most part, far more entertaining than it has any right to be.

*** out of ****