The Netflix requel grafts gentrification and school shooting onto the franchise's decaying face.
is such a viscerally repugnant movie, you can practically smell it. Before the chains buzz and slice in the 1974 drive-in classic, there’s grave robbing, an extended conversation about slaughterhouses and headcheese, feathers and bones as home decor, and an overall pukey ‘70s visual aesthetic. People scream and flail as a matter of course, not just when they’re being chased by murderous backwoods cannibals.
Chris Thomas Devlin’s screenplay follows a group of Zoomers traveling from Austin to Harlow, a town in the middle of nowhere, Texas, that one or more of them apparently acquired. The just-go-with-it demands of this’s premise are in service of making a bigger statement about gentrification, which is that it’s bad. Once in town, the group
notices a confederate flag hanging on an old orphanage and a few of them barge in to take it down. In there, they meet a racist old woman who’s seemingly squatting in a building that these out-of-towners believe they have purchased. They tell her to leave, she doesn’t, they return with cops, and the stress of being forcibly ejected from her home causes her to collapse and then die en route to the hospital.
But she will be missed—or something! Her orphanage-mate is a silent, hulking presence that anyone with even a cursory knowledge of this franchise knows as Leatherface. And now that she’s gone, he’s pissed. This setup gives the antagonist something that has long eluded him: a motive. Not that he needed one to start hacking away at tourists—as the original movie, as well as 1978’sproved, psychopaths are at their scariest when their reasons for murder aren’t so spelled out.
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