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Lollipop Chainsaw Review: Missing The Sweet Center

?Texas Chainsaw 3D? director: Leatherface abused, stunted, lethal

Nikki (Tania Raymondei) and Ryan (Tremaine ?Trey Songz? Neverson) in "Texas Chainsaw 3D." (Justin Lubin/ Lionsgate) Although best-known in the US for theWarhammer 40,000universe, which has spawned a brood of games ranging from the peerlessDawn of Warto the decidedly peerfulFire Warrior. On the other side of the Atlantic, however, Games Workshop has long been the dominant force in specialist tabletop games retail, for better or worse, and launched the careers of Ian Livingstone, until recently life president of Eidos, and Lionhead cofounder Steve Jackson. Before it became a marketing powerhouse driven by the intense accessorisability of Warhammer 40,000s Space Marines and their increasingly picturesque enemies, Games Workshop offered a wide range of their own and third-party tabletop wargames and boardgames, and were often the only specialist gaming retailer in town literally, before online shopping. Chainsaw Warrior was one such, and an interesting experimental step, as it was designed purely for a single player in my case, a tween in a small British town without many friends interested in playing board games and parents who, on reflection, should maybe have paid a bit more attention to what I was reading and playing. The game played out very much like patience, but with zombies. You, the titular Chainsaw Warrior, are a retired cyborg veteran in 2032, called back into action for one last job. A shadowy being from another dimension has taken over a New York tenement block, and will drag the city screaming into some sort of central casting Hell if not stopped. You are the only one who can et cetera.
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The fact that there are far more producers 15 listed in the credits of Texas Chainsaw 3D than there are maimed corpses in the sequel itself, is proof not only of how complicated it can be to relaunch a horror franchise but also of Luessenhops desire to dial down the films body count. The new film emphasizes a storyline about the relationship between a woman named Heather (Alexandra Daddario) and Leatherface (Dan Yeager), who share common kin. In the story, Heather inherits a home whose cellar happens to be occupied by a rather antisocial relative. What if you discovered the only family left to you was a monster? Luessenhop said. In fall 2008, Mazzocone traveled to Austin, Texas, to meet with the representatives controlling the Texas Chainsaw rights. The producers pitch was simple: The story of Leatherface should be as popular as the Saw movies, which Mazzocone and producer Mark Burgs Twisted Pictures had made. Director John Luessenhop with Alexandra Daddario on the set of Texas Chainsaw 3D. (Justin Lubin/Lionsgate) I told them we needed to put some level of integrity into the story, Mazzocone said. While the basic terms of the deal were hammered out in about 15 minutes, it took more than a year to finalize the contract and even longer to assemble a script that felt both fresh and reverential. Mazzocone needed someone to bankroll the production. Lionsgate, which had released the Saw films and felt like a natural home for a new Texas Chainsaw film, was focused at the time on fending off takeover investor Carl Icahn and launching its Hunger Games series.
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It's the one time that every element of Lollipop Chainsaw really comes together, and it's illustrative of how one simple change can make the entire experience more enjoyable. Unfortunately, you won't be slaughtering the undead to the tune of "Mickey" nearly often enough. In addition to "Mickey," Lollipop Chainsaw sports an impressive collection of licensed music, including artists as varied as MSTRKRFT, Joan Jett, Dead or Alive and DragonForce. Surprisingly, the tracks by music director (and former Silent Hill composer) Akira Yamaoka lack the character and originality we've come to expect, with some sounding more like Sonic Adventure than Shadows of the Damned. Lollipop Chainsaw certainly isn't terrible. Despite its flaws, the combat is still mechanically sound. Most of the characters are genuinely likable, and I found them endearing by the end, even if the dialogue often misses the mark. What's heart-breaking about it all is that Grasshopper can do better.
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