The Texas Chainsaw Massacre Part 2 (1986)
Directed by Tobe Hooper
A radio host is victimised by the notorious cannibal family while a former Texas Marshal hunts them.
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What critics compared The Texas Chainsaw Massacre Part 2 to
Cosmatos goes for a direct reference, likely to two gnarly ’80s horror flicks: Tobe Hooper’s The Texas Chainsaw Massacre 2 and Don Coscarelli’s Phantasm II .
Mandy (Grade: B) is a midnight-movie festival onto itself; over two gonzo hours, it combines giallo, Clive Barker, Death Wish , prog rock, heavy metal, Heavy Metal, Guy Maddin, Mad Max, the dueling-chainsaw climax of The Texas Chainsaw Massacre 2 , Nicolas Roeg, and Nicolas Cage at his most bugging-out unhinged.
Both of his films to date ( Beyond The Black Rainbow , the new Mandy) have been exercises in psychotronic drag-ass, best appreciated by a certain kind of movie freak—the devotees of the church of The Texas Chainsaw Massacre 2 and Heavy Metal, in Mandy’s case.
Mr. Z. may love the old movies, but he's mostly remonkeyed some hybrid of a trio of Tobe Hooper movies (The Texas Chainsaw Massacre, Eaten Alive and The Texas Chainsaw Massacre 2) with weird echoes of Dan Aykroyd's misbegotten sole directing effort, Nothing But Trouble.
Or "The Texas Chainsaw Massacre 2." Or the "Wes Craven's New Nightmare."
My favourite example of this in the reverse comes in The Texas Chainsaw Massacre 2 , when Leatherface's chainsaw goes "limp" trying to cut through a block of ice, and a comely DJ strokes it back to life.
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Thankfully, viewers with a hearty stomach and a taste for blood will be delighted to learn that Whannell delivers other things in abundance, like sickening violence, a Dr. Frankenstein-like computer scientist, a bar that's decorated with as many bones (human and animal) as Leatherface's den in "The Texas Chainsaw Massacre 2," and a mystery sub-plot whose clues are all instantly ferreted out by "Stem" (Simon Maiden), a devil-on-your-shoulder version of KITT from "Knight Rider" who lives inside Grey's post-accident head.
Prior to Scream for good or ill, nearly every slasher movie that came out was at least nominally serious (though a handful of experiments, most notably The Texas Chainsaw Massacre 2 and Friday the 13th, Part VI: Jason Lives , flirted with outright comedy); post-Scream, virtually every horror movie for years, until the sudden and unwelcome rise of torture porn in the mid-'00s, mined generally the same territory that set Craven and Williamson's film so far apart from the average slasher: its winking, self-referencing and self-parodying tone, a movie about slasher movies as much as (or more than) a legitimate slasher movie.