Texas Chainsaw Massacre (TCM) was produced to reboot the 1974 film The Texas Chainsaw Massacre. This is the ninth film in the franchise. The reboot (sequel) trend seems strong enough to attract filmmakers to produce this film, even though the series’ prestige is far below the popular slasher series, such as Halloween, Friday the 13th, and Nightmare on Elm Street. What does this film want to offer, directed by an unknown filmmaker, David Blue Garcia, and several names of young stars?

Nearly fifty years after Leatherface’s brutal massacre, Harlow’s old town is now a ghost town. A group of millennials from big cities are trying to sell this exotic location to develop their business here. An old woman who claimed to be the owner of an orphanage building had an argument with them, which resulted in her being rushed to the hospital. On the way, the old woman breathed her last, and a mysterious big man who came and was close to the victim was furious and brutally killed everyone. This brutal figure then walked back towards the city.

TCM has little to offer in its plot to follow Halloween’s success. Similar to the reboot of the Halloween sequel (2018), the plot is simple only to motivate Leatherface to return to action with his brutal style. It’s just that Halloween has more depth of story and a nostalgic side, while TCM is purely an act of slaughter. One main character from the first series (50 years ago) is brought back but unable to give anything more than the story and unable to answer anything. As I said, this is purely an act of brutal massacre. One horrific scene is when Leatherface acts on the bus with his favorite tool, a chainsaw! Blood and body parts were scattered everywhere.

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Texas Chainsaw Massacre is a mediocre sequel reboot by simply selling ultra-brutal treats. Because Leatherface is less popular than Jason, Myers, or Freddie Krueger, he cannot give enough charisma to “sympathize” with this figure. An actual slasher film is not just brutal and bloody action. At least there is a strong narrative or argument why we have to watch all of this. Halloween (2018) has given a good and “entertaining” sample. It should be noted this subgenre is not for everyone and viewing on streaming platforms allows us to watch the film in its entirety without censorship cutouts. Just be mentally prepared with everything that is presented.

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PENILAIAN KAMI
Overall
40 %
Artikel SebelumnyaPeacemaker
Artikel BerikutnyaGreat White
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.

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