One might think TCM2 is an obvious proposition: director Tobe Hooper attempting to escape the dark days of artistic poverty known as the ‘80s by returning to his most demonic days, forging a communion with the film devil and resurrecting the zombified corpse of his most famous film, The Texas Chainsaw Massacre. But TCM2’s is no sycophant wearing its father’s clothes; more like a renegade fugitive dressing up like a horror film to throw the authorities off its trail. It is its predecessor’s polar opposite, as overt a case of a cinematic progeny rebelling against its parent with youthful indiscretion as the medium has ever birthed. Anticipating the devil-may-care comic mania of The Evil Dead 2 with as much brio but much less skill, Tobe Hooper’s sequel to his most famous film at least deserves points for attempting – rather openly – to misdiagnose its predecessors’ successes and run around in its own bizarre head-trip version of the original. An overt comedy, the film’s combustible zaniness is spirited even if it isn’t really inspired, and it sometimes feels like a colossally misjudged entity that is worth seeing only for the courage with which it misjudges itself. The quasi avant-garde set design and the ludicrous, anarchic disinterest in conventional mood skeletons mark Texas Chainsaw 2 as a fugitive inferno of sustained weirdness.
Which is not the same thing as a good film, simply a potent one. Ripe and sour in equal measure, TCM 2’s basic line of attack is to inflate the corpse of its predecessor with noxious laughing gas until it explodes, toppling to the ground in chaotic convulsions of violence and beguilingly standoffish comedy. At the least, it has an identity – as baroque and strangely misguided as it can be – that is not synonymous with the dredged-in slasher glut so thick on the ground in the ‘80s. Possibly aware that the genre was waning (it was already on the way out by 1986, when TCM 2 was released), it at least diffuses the general tepidness of the genre and indulges in the incredibly toxic potencies of producers Golan and Globus, the most notorious producers of the ‘80s, responsible for a proper murderer’s row of cinematic monstrosities. Faced with the choice of going bad or going middle-of-the-road, let no one say the film wasn’t courageous. Proceed at your own peril. Continue reading