Frank Henenlotter's feature film debut in Basket Case (1982) is certainly what he's best known for. While it was by no means a good looking film, it served its purpose in creating an underground horror icon. As bad as the film was. When Basket Case 2 (1990) was created, not only did it have better production quality, but it also had a concept worth getting behind. Sadly, the sequel fell short of this leaving ideas half-baked that could've progressed the story much further than the original could have realized. And just like that entry, the second sequel very much follows the same footsteps. As a rushed sequel, Henenlotter wasn't even happy with it...but it still has some credit to its name. This final film though proves it just wasn't a really good franchise.
Written and directed by Henenlotter for the third time, along with co-writing partner Robert Martin (Frankenhooker (1990)), this sequel picks up just like the last entry with recalling the events of Basket Case 2 (1990). After Duane Bradley (Kevin Van Hentenryck) kills Granny Ruth's (Annie Ross) daughter, Bradley has been in solitary confinement for several months. Only to be brought out to see that his brother Belial is going to be a father after mating with Eve (Denise Coop) the other lump of flesh living at Granny Ruth's. But in order to have a safe delivery, Granny Ruth wants everyone at Uncle Hal's (Dan Biggers) where he and Granny Ruth's son Little Hal (Jim O'Doherty) live. After Duane is freed from his cell, he escapes causing more damage.
It's interesting because as this series has progressed, Henenlotter has exposed just how much of a screw up Duane really is. Belial is no golden boy either, but at least he tries to settle down and live a normal life. This just shows how much little development Duane really gets in this franchise. Duane is the one who escalates other character viewpoints on certain situations retracting their development as well. When Duane escapes, he comes across the local sheriff (Gil Roper) and his daughter Opal (Tina Louise Hilbert), who he only entangles them into his issues too. But even then, things get strange between Duane and Opal where it goes from Opal seeming sane enough, only to have strange sexual desires. What is going on?
The more engaging characters viewers might want to see more of is Little Hal as he has the ability to make mechanical contraptions. Yet, he has very little screen time. Even Uncle Hal falls off the story not long after he's introduced. Much of the characters in general are just unlikable or are too strange to care for. Even Beverly Bonner returns (not as Casey from the last two films) as a cashier. The cast in general do their job, it's just the choices in direction of the story that don't really make sense. Visually, the film went all out on that. The gore may not be as abundant as the other two films, but when it's on screen it's still gruesome. This coincides with the practical effects used, which for 1991 looks good for its budget.
Cinematography was competently handled too, this time by Robert Paone. Starting his career as a second camera assistant in Saturday Night Fever (1977), Paone keeps the camera steady for what is shown, as well as hiding various elements that get revealed later. The film score was composed once again by Joe Renzetti and sadly it still doesn't get featured as much as it should. The music certainly fits the tone, having ethereal and strange sounding tracks, but it doesn't have recognizable traits making it hard to recall on its own. There are hints of melodic themes, but Renzetti doesn't utilize it enough. Thankfully there is a score to hear in case it was difficult to make out in the film itself.
As the final film in this franchise, Frank Henenlotter's trilogy about a deformed Siamese twin is average at best. The final entry is still better than the original, narrative wise, but not by a lot since much of script shoots itself in the foot before it even gets started. The visuals are fine and the actors do their okay, but there's still very little character development, they're not likable and the music is sorely unhighlighted.
