1974’s Texas Chain Saw Massacre became an influential horror flick, one that inspired multiple sequels as well as a 2003 reboot that inspired its own prequel.

With 2013’s Texas Chainsaw, the producers ask us to pretend nothing other than the original 1974 flick existed. Despite all those movies in between 1974 and 2013, Chainsaw offers a direct sequel to the first flick, albeit one that largely takes place years later.

Back in the 1970s, the residents of a small Texas town take “justice” into their own hands and burn down the house of the cannibalistic Sawyer clan. Only one survivor emerges: an infant named Heather subsequently adopted by Gavin Miller (David Born) and his wife Arlene (Sue Rock).

In 2012, Heather (Alexandra Daddario) learns of an inheritance from her biological grandmother. When she and her friends travel to granny’s home to collect, a violent surprise waits for them.

It seems like a bad start to a movie when the chronology makes no sense. Given that “present day Heather” should be about 38 and Daddario was 26 during the shoot, how does it fit to cast her as a considerably older character?

It doesn’t, and this ignores the logical option: just set Chainsaw circa the 1990s instead of 2012. Maybe the producers used so much money for the costs that came with “period” wardrobe and whatnot for the 1970s shots so they figured it would be cheaper and easier to let the rest of the story take place in the same year they filmed it.

As it happens, even the movie’s screenwriter admits the timeline doesn’t work. Co-writer Adam Marcus indicates the script took place in the 1990s but the studio decided to set it in 2012 so we end up with a nonsensical view of a 20-something lead character who should be pushing 40.

Whatever the case, this disconnect between the age of the movie’s Heather and the age she should be turns into one of the least of Chainsaw’s problems. Instead, the movie suffers from a slew of other issues that turn it into a feeble sequel.

I admit I don’t feel wild about the manner in which Chainsaw pretends the various sequels and reboot films didn’t happen. It doesn’t stand alone on this regard, as 2006’s Superman Returns ignored that franchise’s third and fourth entries, while the trilogy that began with 2018’s Halloween ignored the slew of films that followed the 1978 original.

This feels like a cheap way to allow the filmmakers to ignore events from those sequels. Without acknowledgement of the other movies, the folks behind Chainsaw don’t need to worry about how their version will fit canon.

That leaves them free to pursue whatever avenues they want. I’d prefer a thoughtful attempt to connect all the dots and not just “reset” the timeline to make Chainsaw easier to tie to the 1974 movie.

Even with these opportunities, Chainsaw becomes a mess. Simultaneously too simple and too complicated, it comes with little logic or entertainment value.

The movie seems to want to turn Leatherface into unstoppable force ala Jason or Michael Myers. However, Chainsaw also tries to make him a victim and sympathetic.

This doesn’t work, as the film’s attempts to have it both ways never succeed. Sure, Leatherface exists as a product of his environment, but it makes no sense that we’re supposed to swallow him as anything other than a force of evil.

I guess Chainsaw wants us to view Leatherface as “good” because he kills some awful people. However, he also takes out completely innocent folks as well, so this “avenging angel” theme doesn’t succeed.

Heather’s entire backstory seems utterly superfluous. Honestly, Chainsaw lacks anything I’d call an actual plot, as it all just creates a series of scenes in which people get brutally murdered.

Granted, the 1974 movie didn’t bring much of a narrative either. However, at least it boasted novelty and innovation, whereas the 2013 film just brings another entry in a crowded genre.

I do give Chainsaw credit because it doesn’t just remake the original. Nonetheless, it goes nowhere interesting or creative. Throw in an eye-rolling sequel-bait ending and this turns into a failed stab at cinematic horror.

Footnote: a tag scene appears after the conclusion of the end credits.

Texas Chainsaw appears in an aspect ratio of approximately 2.40:1 on this Blu-ray Disc. The movie boasted a pleasing image.

Overall sharpness worked well. Virtually no softness materialized in this accurate presentation.

I saw no shimmering or jaggies, and edge haloes remained absent. Print flaws also failed to become an issue.

In terms of palette, Chainsaw went with a palette that emphasized a standard form of amber and teal, though it contributed some solid reds as well. The disc reproduced these as intended.

Blacks looked dark and deep, while shadows seemed smooth and concise. I felt happy with this high-quality presentation.

In addition, the film’s DTS-HD MA 7.1 added involvement to the proceedings. The channels used music in an involving manner, as various effects also broadened the soundscape in a winning way.

While not a film packed with action, Chainsaw came to life enough to work the speakers well. Various horror elements related to the thrills moved around the room in a convincing pattern to contribute life to the tale.

Audio quality worked well. Speech seemed concise and distinctive, while effects appeared accurate and natural. Louder moments boasted fine punch.

Music was warm and full, with a good level of punch from percussive elements. All of this left us with a satisfactory “B+” soundtrack.

The disc contains both the film’s 2D and 3D versions. The picture quality comments above reflect the 2D presentation – how did the 3D compare?

In terms of visuals, both seemed similar. I noticed no obvious downgrade in image definition, blacks or colors from the stereo version.

As for its effects, the 3D offered a very good sense of depth that felt surprisingly realistic. Various locations came across as full and engaging.

Despite the horror shenanigans, Chainsaw didn’t adopt too many “pop-out” moments. Blood spurted out of the screen and chainsaws did as well.

However, these moments remained in the minority, as the movie usually went with a general sense of place. Since it accomplished that well, I didn’t mind. The 3D version turned into a satisfying visual presentation.

The Blu-ray comes with loads of extras, and we find three separate audio commentaries. The first comes from director John Luessenhop and actor Dan Yeagher, both of whom sit together for a running, screen-specific look at story/characters, connections to the original film, cast and performances, sets and locations, music, and related subjects.

Though Luessenhop and Yeagher occasionally provide insights, a whole lot of the track just praises the movie. We get surprisingly little useful material in this dull piece.

For the second commentary, we hear from producer Carl Mazzocone and filmmaker Tobe Hooper. Both sit together for a running, screen-specific discussion of general production domains as well as aspects of the 1974 movie.

With Hooper in tow, I hoped we’d get a good comparison of the films and a reasonable take on the update. Unfortunately, this track largely degenerates into general fluff and too little productive information to make it worth a listen.

Billed as a “Chain Saw Alumni” track, the final commentary involves actors Bill Moseley, Gunnar Hansen, Marilyn Burns and John Dugan. All except Moseley worked in the 1974 film, while Moseley appeared in 1986’s Chainsaw Part 2.

All four sit together along with moderated Michael Felsher. They deliver a running, screen-specific view of their experiences on their prior films and aspects of the 2013 Chainsaw.

While we don’t get a ton about the 2013 film, we do find a lively and entertaining chat. All involved offer some good memories and insights in this engaging track.

A bunch of video programs ensue, and Texas Chainsaw Legacy runs six minutes, 46 seconds. It brings notes from Hooper, Luessenhop, Mazzocone, Moseley, Hansen, Burns, and actors Tania Raymonde and Dan Yeager.

This piece brings thoughts about the original Massacre. Don’t expect much more than praise.

Resurrecting the Saw goes for nine minutes, 13 seconds. It involves Mazzocone, Luessenhop, and co-writers Debra Sullivan and Adam Marcus.

We get thoughts about rebooting the franchise as well as story/characters. This turns into an informative view of the screenplay’s development.

After this we go to the 14-minute, 50-second The Old Homestead. This one gives us notes from Burns, Hansen, Moseley, Mazzocone, Luessenhop, Dugan, location manager Kendrick Hudson, special effects coordinator Jack Lynch, and actors Thom Barry and Ritchie Montgomery.

“Homestead” covers the recreation of the original movie’s sets and scenarios. Some useful material arrives but the reel can feel awfully self-congratulatory.

Casting Terror occupies 12 minutes, 18 seconds. It features Mazzocone, Luessenhop, Barry, stereographer Ray Hannisian, and actors Scott Eastwood, Alexandra Daddario, Tremaine "Trey Songs" Neverson, Shaun Sipos, Tania Raymonde, Keram Malicki-Sanchez, and Paul Rae.

As implied by the title, "Terror" examines cast, characters and performances. A few insights emerge but a lot of this leans on fluff.

With Leatherface 2013, we find a 14-minute, 53-second program. Here we locate info from Yeager, Mazzocone, Luessenhop, Hansen, special makeup effects artists Alex Diaz and Mike McCarty, and property master Mark Wallace.

This one looks at Yeager's casting and performance as the iconic part as well as the Leatherface mask and chainsaw. Though another mixed bag, the elements about the mask and saw work well.

Lights, Camera, Massacre spans 11 minutes, 31 seconds. It delivers remarks from Mazzocone, Hannisian, Luessenhop, Malicki-Sanchez, Raymonde, Yeager, Diaz, Daddario, Rae, special effects technician Mike Wilks and stunt double Elena Sanchez.

We get notes about the movie's 3D photography and some scene specifics. The discussion of how 3D complicates the shoot becomes compelling.

Next comes It’s in the Meat. A seven-minute, 49-second piece, it involves McCarty, Sipos, and Neverson.

Here we learn a bit more about the movie's practical effects. It becomes a decent reel.

Under On Set Short Subjects, we find six “Five-Minute Massacres”. These take up a total of 33 minutes, 19 seconds.

The “Massacres” essentially offer "fly on the wall" footage from the shoot, albeit with a few on-the-set comments. They deliver an interesting view of the production.

An Alternate Opening goes for three minutes, 21 seconds. It seems similar to the movie’s actual introduction to the Sawyers when the police approach and only make minor changes.

The disc opens with ads for Cabin in the Woods, My Bloody Valentine 3D, and The Descent. We also get the trailer for Chainsaw 3D.

An attempt to ‘reset’ the world of Leatherface and ignore decades of sequels, Texas Chainsaw comes with a slew of problems. It fails to balance these with anything memorable or vivid so it turns into a pretty lousy horror flick. The Blu-ray brings very good picture and audio along with a long roster of supplements. We get a fine release for a crummy movie.