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. Horrible Perfomances, a dumb look for the main villain and just a tone of cheese after cheese make 'Texas Chainsaw Massacre III' another waste of money and time for me in my opinion plus what the heck was Viggo Mortensen doing in this film? Was he really desperate of the money? I mean common this was just sad. (0/10)

There was a little buzz left in the saw by the time New Line Cinema scooped up the rights to the third "Texas Chainsaw Massacre" flick, dubbed "Leatherface: Texas Chainsaw Massacre III". In an attempt to spin the slow-moving property into a more efficient money-making tent-pole horror franchise (ala the "Elm Street" films) New Line eschewed most of the plot-points introduced by Tobe Hooper's zany sequel and shifted tones once again. This time around with Jeff Burr at the chopping block, an attempt to make a more streamlined and easier to swallow (and sell) sequel was mounted, if not entirely successfully.The main beef of the plot is admittedly a bit lean. A feuding couple on a road trip (the formidable and lovely Kate Hodge alongside '80s horror victim de jour William Butler) find themselves taking a detour to visit good ol' boy Leatherface (R.A. Mihailoff) and his new clan of cannibalistic weirdos (lead by Joe Unger and a fresh- faced Viggo Mortensen). Predictable shenanigans ensue, until another stranded motorist (the great Ken Foree) intervenes. As you can imagine, the family is tight if not dysfunctional, and their diet subsists of ingredients that would likely make even Paula Deen and Guy Fieri wretch in horror (well, maybe).There's less emphasis on goof and more on gore this time around, and that's not entirely a bad thing; however, the film feels a bit hollow without the dread of the original or the absurdity of the brilliant sequel on hand. Burr, having proved an adequate helmer of sequels with "Stepfather II" gives it his all, but was ultimately undercut by a studio that didn't quite know what it wanted (its troubled production has been well-documented). Having said that, it doesn't mean the film can't be fun when it wants to be. The cast, all around, deliver the goods and keep the pulse pounding. The pace is set just right and Burr does a good job of milking as much atmosphere out of the hot Texas sun as he does the blue hues of midnight. We're also treated to the prototypical late '80s metal soundtrack (Death Angel!) that helps to sum up the era of commercial horror pretty perfectly. This attempt to make "Chainsaw" a digestible franchise is admirable if a bit futile. Best watched on a late night with a few drinks in hand and even fewer cares.

It's strange how some horror trilogies work. Most start out groundbreaking. Then the second entry just doesn't satisfy as much as it could have. It had bits and pieces that demonstrated there were possibilities, but the advances were not taken further enough. Then there's the third installment, which most consider to the worst with the least amount of care or effort put into the mix to make any kind of decent product. Some chapters however do step up to the plate from time to time. Some are quite obvious to what has more of the upper hand over the rest, while others however are up for more of a debate on what really was the worst. It just depends on what was found to be of better quality in the production (and that doesn't just mean visuals). The story for this sequel is as copy and paste verbatim as it gets. When a couple, Michelle (Kate Hodge) and Ryan (William Butler) travel through Texas from California to get to Florida, they run into the alleged Sawyer family. It is that straightforward; there's nothing else. Why should writer David J. Schow even get writing credits for this? Well, even though his story telling skills are very mediocre here, he still manages to draft a couple of acceptable characters but that's about it. On their travels the couple encounters Benny (Ken Foree, best known from George A. Romero's Dawn of the Living Dead (1978)). Of these characters, the only few that remain somewhat interesting are Michelle, Benny and some of the sick-minded Sawyer family. Hodge, like other actresses give their lead courage at certain instances and that's commendable. Foree is praiseworthy in his role because he at least provides good support to the leads. As for some of the Sawyer family, the thing that makes them fun to still watch is how they act as a family; what makes them have a good time and how they improved their way of hunting for food. One of the creepier Sawyer family members is the mom played by Miriam Byrd- Nethery.As for the other actors, they are intriguing to see at such an early time but they do not provide anything worth while to the plot. William Butler (who would later be the creator behind the el-cheapo Charles Band The Gingerdead Man (2005) franchise) plays an unlikable match to Michelle and does nothing but nags and complains. R.A. Mihailoff as Leatherface is decent but doesn't give the infamous killer any kind of personality other than trying to make a toy understand he wants food. And what's the hair? Is that Jeff Daniels' hair from Dumb and Dumber (1994)? Joe Unger and even Viggo Mortensen have defining roles but don't exactly make themselves act differently from other characters before. On a production level, the only areas that look decent are the special effects, gore and cinematography. Unfortunately, with lots of the original gore being cut, it isn't always on screen but when it is, it is still grotesque and ugly. The camera-work by James L. Carter is acceptable. Nothing groundbreaking but at least is lit in a way that conceals its antagonists rather than putting them out in bright neon lights like the first sequel.The only other possible credit that can be given to Schow is at least reverting the tone back from being too goofy from that of Tobe Hooper's first sequel. However, this does not excuse the giant gaping holes in this particular sequel's story. Like the past two films, the opening credits begin after narration explaining the events of the past. The difference for this is that this entry seems to be taking place after the first but before the second film. Yet there's a slew of contradicting evidence to try and prove this true. At the end of the first movie, Leatherface cuts his leg so this would support it being an intermediate sequel because in this movie Leatherface has a leg brace. But then there's issue of when did Leatherface have a totally different family and,...a daughter? But this has to be true, because Leatherface was impaled and blown up in the second film right? There's even a scene with actress Caroline Williams (who played Stretch in the previous sequel) playing a reporter. So was Stretch initially a news anchor before a radio host? But the title to this movie clearly states the it's the third.....well at this point it's undetermined. Then there's the issue of unexplained errors either for characters or events. This for the most part goes parallel to the time in which this film takes place in accordance with the prior films before it. Sometimes parts of this movie alone feel like it was made for a Friday the 13th film, that means including false jump scares and unreliable truths shown on screen. This film is also one of the few to not follow the cliché horror tropes but only through one of these unexplained errors, so its hard to say if it counts really. Finally, the music is an even further step down. Forget what was said about Hooper's score from the first sequel. The musical score composed by Jim Manzie and Patrick Regan is even more unoriginal. There's no main theme again and there's no frantic sounding synths either. Now it's just notes that drudge through each scene that sound more muddled than usual. Topping that off is an occasional rock anthem that'll blast in and come out of nowhere. It's quite jarring to say the least. This is no wrestling match.It still has the majority of its cast pulling the required weight, the special effects and gore are still good, along with competent cinematography. In spite of that however, its writing suffers from large continuity errors, unexplained justifications and a paper cut out of a plot. The music is also a step down from before, while including unnecessary hard rock in a couple scenes.

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 chances.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 original. 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 making. Sigh.