On the occasion of the release of “The Texas Chainsaw Massacre” on Netflix, a look back at a major franchise in horror cinema that has not always given good things. Remake, prequels, or even sequels, everything was done around Leatherface. Discover below our ranking, from the worst film to the best.
– The Texas Chainsaw Massacre: The Next Generation (1994)
Like the sagas Halloween, Friday 13 Where Freddie, Chainsaw Massacre also had completely dispensable sequels that have no other ambition than to fetch a few extra tickets. This fourth episode signed by Kim Henkel is the perfect example (with the 3, which we will talk about very soon). Nothing amuses in this wonky slasher, who does not have an original idea to add to the mythology and who, above all, misses himself completely at the level of his family of degenerates. At the limit, the film may be worth seeing a freewheeling Matthew McConaughey in one of her first roles or a Renée Zellweger also at the start of her career.
The Texas Chainsaw Massacre: The Next Generation ©Columbia Tristar
– leather face (2017)
Ten years later The Texas Chainsaw Massacre: The Beginning another prequel was born with the leather face. Rather interesting project because carried by two French Alexandre Bustillo and Julien Maury. However, the duo lived a painful experience by dealing with recalcitrant producers. Consequently, the film is a real disaster in which the vision of the directors never appears distinctly. Worse, Leatherface’s treatment is unworthy of this monumental figure of horror cinema. There is no doubt that the result would have been more notable if the two Frenchmen had been able to unpack their ideas…
– Texas Chainsaw 3D (2013)
If we could find reasons for satisfaction in the remake and the prequel, Chainsaw Massacre messed up with its 3D-Esque gap. The case begins however with some arguments by clinging to the original film. But once the first 10 minutes of this Texas Chainsaw 3D, we are witnessing a disembodied spectacle that formally resembles any lambda slasher. So, yeah, seeing Leatherface throw a chainsaw at someone is fun. Just like some gore scenes can be. But you have to walk through a crudely written film to enjoy it, and ultimately, to witness an end that deserved to punctuate a more attractive development.
– Leatherface: The Texas Chainsaw Massacre 3 (1990)
After two films, Tobe Hooper is no longer on board. And as much to say that it is felt on the final result of Texas Chainsaw Massacre 3 ! This second sequel drastically lowers the level compared to the first two parts which all had something unique to offer. There, although we feel the usual markers of the universe, everything has less impact. For the first time, Chainsaw Massacre falls into exploitation cinema logic and, just like the leather face, this film suffered turbulence due to the intrusive behavior of New Line. The result is a wobbly opus in which Viggo Mortensen strolls in his early years as an actor.
– The Texas Chainsaw Massacre: The Beginning (2007)
The remake of the Chainsaw Massacre revealed a new timeline. Thereby, The beginning is positioned as a prequel to explore the origins of the leather face. A not uninteresting note of intent which, as with the Halloween by Rob Zombie, exploits the only truly viable angle of fire to avoid repetition. Jonathan Liebesman’s film so brings some interesting elements to the mythology even if it de facto loses interest by not being directly linked to the work of Tobe Hooper.
This origin story is still far inferior to the Marcus Nispel remake falling moreover in a form of repetition with situations already better exploited in 2003. We find with pleasure R. Lee Ermey as a sadistic sheriff but, this time, he is not surprising compared to his previous appearance. In summary, The beginning is a decent horror movie, with a nihilistic end that allows him to stand out.
– Texas Chainsaw Massacre 2 (1986)
In 1986, Tobe Hooper returned with Texas Chainsaw Massacre 2. This sequel has a good idea of seeking to be something other than the original. The latter contained a part of black humor and this second opus decides to exploit this vein more distinctly, with vigor.