Brian Trenchard-Smith, the British-Australian director of such Ozploitation classics as Turkey Shoot and Dead End Drive-In, eventually made the big move to Hollywood in the early 1990s, and in due time, he was entrusted with the third installment of that decade’s most madcap horror franchise. Amazingly, Trenchard-Smith made his mark on a genre series already […]
Image: Warwick Davis watches Michael Callan’s wish play out in terrifying fashion.
In the original trilogy, Leprechaun 2 was the first to relocate its titular villain to urban surroundings, but Leprechaun 3 has the more notable, not to mention most thematically fitting, scenery change. Rather than revisiting Los Angeles for another of his carnage crawls, Lubdan finds his way to Las Vegas. That choice of Sin City is pitch-perfect as the Davis character metes out ludicrous punishment for the greedy folks at a casino.
As with its immediate predecessor, Leprechaun 3 centers on a young couple with the worst luck. However, unlike Leprechaun 2’s Cody and Bridget, this sequel’s Scott and Tammy aren’t already paired up before their mutually ill-fated encounter with Lubdan; appropriately, John Gatins and Lee Armstrong’s characters meet by chance only once the latter’s car trouble has left her stranded in the middle of busy Las Vegas. This is also where the story begins to play with its throughlines of greed and selfishness; no one, namely someone from around these parts, helped Tammy, except for the guy passing through and on his way to college.
Scott and Tammy’s situationship-turned-romance feels chop-chop, all out of an effort to get on with the main attraction of the film — the killing spree, obviously — but it would be remiss to overlook the two main characters and only view them as a means to an end. In retrospect, Scott and Tammy are rather likable, in spite of their thinly written selves, and it’s easy to root for them. Of the two, the put-upon and jaded Tammy is the most developed; she is wary of any man who shows an interest in her, given the sleazy and exploitative male company she keeps, but her shell of cynicism and distrust starts to crack the more she gets to know the sincere-to-a-fault Scott. David DuBos’ script, along with Trenchard-Smith’s revision, does not go to great lengths with the character building, yet what little it does manage to squeeze in between the mayhem and “Leprechaunthropy” is appreciable.
Image: Warwick Davis and Lee Armstrong in Leprechaun 3.
The aptly named Lucky Shamrock Casino was a hotbed of avarice, desire and fame-seeking long before Ludban showed up, but now there was a way to make those innermost wishes come true. Herein lies the fun of Leprechaun 3, which carries over, as well as expands on, the “be careful what you wish for” element that began with the first sequel. This time, though, that certain aspect of the plot is emphasized for the sake of body count and set pieces.
It just wouldn’t be a Leprechaun film without spilling some innocent blood, although the majority of the deaths here belong to folks less savory than the usual bystanders caught in the crosshairs. Surely, the most objectionable in this lousy lot of victims is the slimy casino owner (Michael Callan) who nearly takes advantage of a bewitched Tammy. His equally doomed companions, casino dealer Loretta (Caroline Williams) and magician Fazio (John DeMita), can’t be lumped in with their scummy employer, seeing as the two’s wrongdoing is more cartoonish than malicious. Nevertheless, there is no room for any moral gray area in this film, and Loretta and Fazio don’t escape Lubdan’s lust for sadism. From the most botched body-lift to ever grace the screen, to a mere magic trick gone gruesomely wrong, Loretta and Fazio’s deaths are definite highs in this low-brow sequel.
Leprechaun 3 isn’t a sequel without shortcomings; the weaknesses are often part of the overall charm. However, a decrease in budget this time around — $1.2 million versus Leprechaun 2’s $1.5 million — restricts the film’s sense of motion. In lieu of chases across parts of Las Vegas, or really any major changes in venue, the hapless prey and their green predator stick closely to the casino. Which, by the way, is Los Angeles’ Ambassador Hotel dressed up to be a casino, a morgue, and pretty much any location shown in the film. To Trenchard-Smith and his crew’s credit, the multifunctional shooting site is convincing enough, but the sparse movement in the story becomes noticeable.
Warwick Davis has since praised Trenchard-Smith — “he manages to get so much out of so little money” — and called Leprechaun 3 his favorite, on account of its comical appeal. Indeed, Trenchard-Smith was a great fit for the series that, ultimately, favored humor. And while other horror franchises might show signs of decline well before their third outings, this one lucked out and delivered yet another instance of wicked entertainment.
Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.
The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.
Image: Warwick Davis as Lubdan in Leprechaun 3.
