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The most significant aspect of the latest sequel/reboot of “The Texas Chain Saw Massacre” slasher movie franchise is perhaps apparently how the film ridicules the woke contingent.
That is the assessment of Breitbart editor-at-large and perceptive media/culture critic John Nolte in giving the new opus distributed by Netflix a qualified recommendation.
Gory horror movies are obviously not to every audience member’s liking. Moreover, the 2022 version of the “Texas Chainsaw Massacre” has so far received a modest average 5 out of 10 from IMDB users and just a 36 percent audience score on Rotten Tomatoes which presumably includes mostly fans of the genre generally.
Netflix subscribers are probably well aware that original content produced or acquired by the subscription streaming service often has so-so quality, often including identity politics overtones.
Netflix reportedly spent a staggering $17 billion on content last year and plans to up the ante to $18 billion this year.
Nolte’s review underscores that nearly half a century after the original 1974 film, the ninth entry in the series, which premiered on Friday and which clocks in at just 81 minutes, “is more than worth your time. The social commentary is courageous, dead-on, and refreshing.”
Forty-eight years later, an electric Tesla carries four Millennials into rural Texas. These are four insufferable Woketards who enjoy shaming the locals about their guns, gas-powered pickups, and Rebel Flags. They’re here from Blue America to conquer, to gentrify this peaceful area into a Woke Utopia that will bring thousands more just like them.
These four are not just Woketards; they’re Celebrity Woketards and online influencers…
For whatever glorious reason, the filmmakers behind the sequel initially show nothing but contempt for their protagonists. These four are not only condescending, insufferable, and intolerant towards rural folk, after their bigotry and arrogance results in the death of a local, a long-dormant Leatherface (Mark Burnham) reactivates.
This approach works like gangbusters. We’ve suffered through, what, seven years of one-dimensional, morally pure, achingly dull left-wing characters? Well, here, that self-righteous belief in their own moral purity brings about their doom….
Things really pick up when a busload of these rich, entitled a–holes arrive, and Leatherface goes to town, even after one threatens to “cancel” him.
Nolte obviously is a prolific conservative writer as anyone who follows his astute work or his social media activity knows.
In general, however, professional movie reviewers, particularly on the left where most of them reside, often frame their critiques in the context of politics and sometimes even read into content certain themes unintended by the filmmaker. Content consumers would be well advised to take that into consideration when making entertainment choices.
After identifying some shortcomings in the script, production design, and cinematography, Nolte quipped that “Far be it for me to complain about a movie with the moral courage to unleash chainsaw-wielding revenge on electric car driving, anti-gun, Southern-hating, Blue City locusts.”
Among lots of commentary floating around, movie reviewer Brian Tallerico, who writes for the website named for the late longtime Pulitzer Prize-winning film critic Roger Ebert, describes “Texas Chainsaw Massacre” as “another cautionary tale about gentrification” and ineffective as a horror movie.
“The gore is plentiful, but the staging and execution of the violence is uninspired. There’s no tension, no suspense, no characters to care about,” he wrote, in part.
Rolling Stone magazine also recognized the twist Nolte referenced while talking about the message the movie sends:
“It’s not that hipsters should ixnay gentrifying ghost towns in the dustier corners of the Lone Star state, even if one of them is a celebrity chef and their idea of revitalizing a long-abandoned main street with a hoity-toity bistro will attract tourists. It’s not that you should hold off offending the redneck you meet in a gas station even if you think his big ol’ pickup truck is a form of overcompensation, as he may end up being an ally to you later on…”
The message ultimately being: “Leave. Classic. Horror. Movies. Alone.”
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Robert Jonathan is a staff writer for BizPac Review. He is a longtime writer/editor for news aggregation websites and has also developed content in the legal and financial publishing sectors as well as for online education. He earned a Juris Doctorate from the University of Connecticut School of Law, “a law school the basketball teams can be proud of.”
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