This is better as a comedy than something else. I usually can't stand these kind of teen horror movies, but by having so many friends praised it, I decided to watch it last night, and, fortunately, the movie didn't affect my sleep. Here we find ridiculous fast editing and dumb characters, and more kitsch and untolerable stuff. I'm going to forget I wasted eighty minutes of my life.
A post-Vietnam, post-Watergate vision of America as a mad, cannibalistic hellscape. Sure it ticks the usual slasher boxes but there is vital, grimy, pulsating life to this film and its shot through with the disillusionment of its era. Like The Deer Hunter, but more subtle. There's a reason it's in the Museum of Modern Art, people!
Being regarded as a classic horror film, I was tremendously excited to watch this and tried my best to appreciate it. The murders were way too early, and about half of the film was just the big escape scene, which overall had me laughing way more than it was supposed to. Nothing about this was scary to me, and I'm a big baby.
Hay algo perverso y que a la vez provoca cierto goce en esta película. La presencia de un personaje del bando de los buenos es irritante. Este individuo gordo, latoso, chillón y aniñado que resulta una carga en uno de los momentos más angustiantes de la historia. Lo vamos odiando y hasta (aquí lo perverso) le deseamos mal. "La matanza en Texas" no solo crea malvados entrañables. También las víctimas perfectas.
When I was 19 I saw 'Alien' and it messed me up. So I decided to do some exposure therapy. I watched every horror movie that I could. This movie messed me up for several days. But then I was stronger. And then I saw Evil Dead, and that messed me up. I will watch just about anything, except for 'A Serbian Film'. And so far I have not become a serial killer. How about that?
Raw and visceral filmmaking that stands the test of time and is every bit as frightening now with its 40th anniversary re-master than it was on the day it first screened. Despite a low budget, the camera work is gritty and unsettling and the sound design is pulsating, unnerving. The performances are campy and quite bizarre. The final sequence remains one of the most beautiful and terrifying endings to a horror film.
Grainy 16mm footage adds a layer of verisimilitude to what is otherwise a low-budget horror movie made on the cheap. "TCM" has lost some of the visceral power it once had over me, but it's clear the anxieties of its day - Watergate, Vietnam, energy crisis - are churning just below the surface. The film ascends into vision during its final twenty minutes, with the infamous dinner scene proving an unsettling highlight.