Leatherface

"Leatherface" (2017, Julien Maury, Alexandre Bustillo, Campbell Grobman Films, Mainline Pictures, Millennium Films, Lionsgate Films) is a prequel to the 1974 original "Texas Chainsaw Massacre" and the eighth film in the franchise. It is, however, admittedly only the third film in the franchise that I have personally watched. 

The film follows the character who will become Leatherface, Jed, giving some background on his upbringing and the traumatic events which lead him to become the chainsaw wielding, face-book collecting villain that we all know today.

The film has suffered some negative critical response which is largely undeserved in my view. It manages to exist within the same universe and setting as the 1974 original in a fairly believable way, despite being made more than 40 years later. The characters and action have a familiarity that ties it in to the franchise very well.

The Sawyer family are instantly recognisable as characters and are pitched at correct ages to tie in to the original film. Grandpa Sawyer particularly, in his more mobile 'youth', is a nice nod to the character's future. While the shock factor maintained within the original film is not reclaimed, "Leatherface" pays a strong homage to Hooper's original.

The identity of teenaged Jed is kept as a 'secret', although it's not exactly well hidden. However, he is joined by a host of other characters on, not a slasher style spree, but a Bonny and Clyde style kidnap roadtrip. This change of pace really appealed to me as it further explains the changes in Jed's mental situation from young man with some serious issues to young maniac intent on collecting faces. The film is not a purely Slasher film, managing to blend mental asylum, road trip, body horror and slasher genres into a gory adventure.

The death scenes are gruesome and intense with a bit of necrophilia also thrown in for added ick factor. This film certainly accomplished a few scenes which made me squirm.

An origin story for a much appreciated ('loved' seemed like the wrong word) horror icon that manages to create a worthy plot and character development, with strong performances from the cast. I'm not usually one for reboots, prequels and remakes, but for once this one played out as a refreshing change of pace, an homage to the original and not an attempt to kick start another wave of franchise additions or change the outcomes for the characters.

[Image: Lionsgate Films, et al]

Hani

Dracula Untold

"Dracula Untold" (2014, Gary Shores, Universal Pictures, Legendary Pictures) depicts the origin tale of Dracula.

Vlad Tepes, the Impaler, Prince of Transylvania (Luke Evans) seeks some unorthodox help to defeat his Turkish ex-captors and maintain the freedom of his homeland and its people. Much to his detriment, as we all know.

I wouldn't call this a fantastic vampire film, but I equally won't bestow on it the bile that many online bloggers have. Yes, the film is not Bram Stoker's Dracula, but it never claims to be. Yes, there are historical inaccuracies, but it's not a documentary. In fact, I found it to be a refreshing take on a classic tale, even if it does often delve into the more comic book action genre than anything resembling horror.

It's not a serious film, nor an accurate historical character study, nor even a horror movie. But it does well to capture the era, the desperation and shows a more human side to the famous character than previously investigated in the rather bloated world of vampire cinema.

Evans creates an attractive Vlad, but Charles Dance steals the show however, with his fabulous talent for creepiness with a touch of bitter disappointment and that fanged grin.

Image: Universal Pictures

 

Hani

Leprechaun: Origins

"Leprechaun: Origins" (2014, Zach Lipovsky, WWE Studios, Lionsgate Films) is the seventh film in the Leprechaun series, but truly it's a reboot as it shares no similarities to the other films.

 

A group of Americans are backpacking through Ireland on their summer break when they happen across a friendly local in a bar who tells them that they can spend the night in one of his wooden cabins and he will take them to see a local landmark at sun up.

 

Being more than a little gullible, and also up for anything, the group agree and the man's son, Ian (I love how Americans seem to think that Scotland and Ireland are completely interchangeable. Now I'm not saying Irish people can't be called Ian or Hamish, but you'd think at least one of them would have a remotely Irish name in a film set in Ireland!?), drives them all up to the chalet. The run down, locked from the outside with a padlock, shed...

 

It isn't long before they find out the sinister plans of the locals, who plan to sacrifice them to the leprechaun in return for peace. Now they must escape the savage, blood thirsty beast before they become it's next prey...

 

A pretty unimaginative slasher that is very far removed from its cheesy, comedy predecessors. Some of the action is quite fun, and there's a scene with the fireplace that entertainmed me thoroughly.

 

The monster is so different to the original leprechaun. Played by WWE wrester, Dylan "Hornswoggle" Postl, he is barely recognisable under a quite immobile facemask.

 

A little gory and silly, but nothing groundbreaking, it's worth a spin with a pizza and some beers on a rainy night.

 

 

From Dusk Till Dawn 3: The Hangman's Daughter

"From Dusk Till Dawn 3: The Hangman's Daughter" (2000, P.J. Pesce, Quentin Tarantino, Robert Rodriguez, A Band Apart, Los Hooligans, Dimension Films) is the third film in the franchise, and a prequel to the original film.

Set in the 1900s in Mexico, American author Ambrose Bierce (Michael Parks), a drunk who is experiencing weird flashbacks, has hitched a ride with a young married couple, John (Lennie Loftin) and Mary Newlie (Rebecca Gayheart), who are spreading the 'word of God' via free bibles.

Their coach is attacked by a band of highwaymen lead by Johnny Madrid (Marco Leonardi), who has just narrowly escaped the hangman's noose and kidnapped the hangman's daughter Esmeralda (Ara Celi). The attackers find nothing of value in the wagon.

Soon everyone congregates (seperately) at a secluded inn which we know from previous films to be the 'Titty Twister'. The barman is also our good ol' friend Razor Charlie (Danny Trejo), this is the same character as in the original movie.

Although the vampire princess Santanico Pandemonium is played by Selma Hayek in the original film, it is revealed in this film that she is none other than Esmeralda. Dun dun dun!

A fun little period gore comedy, the plot goes back to the original setting and style. Most of the vampire action is in the inn itself, and again there are a lot of boobs and vampire ladies wearing very little clothing.

As much as I liked the fight scene music, I thought the original film's was better, but on the whole I enjoyed this film for the humour and the complete ludicrousness of it all.

[Image: Dimension Films]

Hani