Occasionally a critic will write something that gets readers seriously riled. God knows I’ve done it. If I had to list my three greatest hits of outrage, they would probably be my pans of “Pr…
,'” adding, “but let’s leave that topic for another time.” That was meant to be a shorthand quip. I never intended to leave the topic for another time. What I meant is that I had no active desire to explore it, since I’ve already explored it so often. I felt it didn’t need to be belaboredBut oh, what a trigger that sentence turned out to be! The response on Twitter was fast and brutal.
“I think we can all dismiss Owen Gleiberman’s Halloween Kills review as he thinks the original Halloween stole directly from The Texas Chain Saw Massacre. This following behind a long, sad chain of critics who have no respect for the horror genre.” “Wait. How is the original Halloween a knockoff of TCM?! Had you said Black Christmas, I would’ve been like I can accept that. But TCM?!!!”“What do you expect from a by-the-numbers hack like Gleiberman?”Okay, I will. But first a bit of background. I became a horror fanatic in the ’70s, because I happened to grow up then, but also because that decade was a high-water mark for horror, one that spawned so many of the tropes that rule horror cinema to this day.
“The Texas Chain Saw Massacre” echoed the shock and terror of “Psycho,” but in a wild-ass rural-devil counterculture way. It’s very much a post-’60s movie. “Psycho’s” Marion Crane, with her furtively erotic and sly-eyed scheme of stealing $40,000 so she can get married, is now, in effect, a group of roving kids in a van who act out the license of the sexual revolution, and there’s a Mansonite madness to the whole thing.
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