The film makes a home in your brain and the only cure is to see it again.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

"Sleepaway Camp III" was shot back to back with "Sleepaway Camp II" and released straight to video a year later. As a money saving measure, both movies were shot on the same sets. The movie barely attempts to disguise this and, instead, thinks of a clever way to write around it. A pair of greedy, would-be entrepreneurs have bought Camp Rolling Hills, two years after Angela's massacre. They have rebuilt the camp into Camp New Horizon, where teens of rich families can mingle with poor, troubled youths. Angela returns to the scene of the crime, assuming a new identity, before the badly behaved tenants force her to kill again. "Sleepaway Camp III" is cheap but at least it's creatively cheap."Sleepaway Camp II" was a fairly subtle satire of eighties pop culture, eviscerating the icons of the day while gently poking fun at the rules of the slasher subgenre. Part three, meanwhile, attempts a muddled sociological message. The rich kids at Camp Rolling Hill are rotten to the core, displaying greedy, selfish behavior. The kids from the ghetto, meanwhile, are violent and unintelligent. Even the owners of the camp, winkingly named Herman and Lily, are corrupt. Herman attempts to screw his teenage tenants while Lily is a lay-about that uses the campers as a private workforce. Angela is a force of weird justice, slicing through both social stratas, deeming all unworthy.Instead of naming the victims after the Brat Pack, Michael Simpson and Fritz Gordon name the fodder after "Brady Bunch" and "West Side Story" characters. The flick intentionally recalls "West Side" with its two survivors. Marcia is from the nice side of the tracks. She strikes up a romance with Tony, a Hispanic kid from such a town that he considers being a gang member no big deal. Their attraction isn't love. Both characters admit they're just horny. Yet their relationship is the film's best implication that there is hope for the future, that different social groups can find a peaceful middle ground.Which brings us to the increasingly peculiar character of Angela. In part two, an incongruent perkiness separated Angela from the slasher pack while a barely glimpsed inner-sadness made her a deeper character. In part three, Angela is more low-key. She pretends to be a nasty kid in order to make it into the camp. Amusingly, Angela is as bad at pretending to be a street kid as you'd expect, especially when she enthusiastically proclaims her love for the Happy Campers song. In the last flick, Angela at killed those that violated her personal moral code. There's elements of that here too. However, Angela seems to be killing this time mostly because her victims aren't nice. When dropping a rich brat from a flagpole, she calls her a "fornicator." But only after criticizing her for being a cheerleader and racist first. Angela has become bitter. As the film makes obvious, it's from heartbreak. While exploring the room that used to be the main cabin, Angela flashes back to the previous film. In an extended scene, she expresses how important camp is, how it's about being accepted for who she is. No wonder she's sad and angry. The world has continuously disappointed her.While it tries, "Sleepaway Camp III" ultimately feels like the quickie sequel it is. While the cast is about the same size, the characters are nowhere near as developed. The bad kids are designated a stereotypic behavior. Riff blares his ghetto blaster. Cindy is an entitled rich witch. Snowboy spray-paints. Peter likes firecrackers. Ahab is a tough girl. Jan sleeps around. George is the football star that is secretly into kinky sex, probably the funniest of the lot, especially when he tries to put the moves on Angela. Some of the kids don't even get that much, as Greg and Anita are without any defining features. That the movie was written quickly is evident in its plot construction. After a somewhat sluggish first hour, where Angela separates teens from the group as to kill them, she spends the last half-hour cleaving through the remaining cast. Fritz Gordon's previous script transcended the time limit but it's clear the deadline got to him on this one.Part II also featured some creative, graphic kills. Unfortunately, the MPAA came down hard on "Teenage Wasteland." What Angela does to her victims can't compare to what the censors did to the death scenes. Before a head smashes on impact or a face is chopped up in a mower, the camera abruptly cuts away. A decapitation is neutered when the punch line, Angela kicking the head, is cut out. A Jeep tears arms off which is awkwardly cropped out of frame. Far too many of the death scenes are Angela hitting her victim with sticks, which is not the most cinematic violence. At least the movie doesn't skimp on the T&A, as the audience is greeted to nine spectacular breasts. (Even if the sole sex scenes features Michael J. Pollard. Did I mention Michael J. Pollard? He's in this.) The third film ends on an ambiguous note, one that ultimately defines the film. As Marcia tries to escape, Angela is fatally wounded. While driven off in an ambulance, she raises long enough to kill the paramedic and cop. When the driver asks what's going on, Angela says she's "taking care of business," a slight reservation in her voice. Killing bad people in a world destined to disappoint her is Angeal's job now. She doesn't take much joy in it. Though I love Pamela Springsteen, her delivery here is tired, especially the hilarious sleepy rap she performs. The whole movie is tired. It's not as funny or satisfying as the previous sequel. However, I'll enjoy any movie that has Pam stirring up trouble. Given more time, this probably would have been a classic on the level of part two. As it is, it's still entertaining.

I found this a bit more fun then second movie, as it way to funny for it own good and jokes were really good in this movie, I kept laughing at some parts of the Dark humour.Both sequels to sleepaway camp have some good part in movies, they don't have the same feel anything like first .I found the death scene build up were really good but had some tension i hated the fact there was not one death scene was on screen, which was huge letdown as they could of be done really well.The acting this movie from everyone in cast was cheesy as you can get and ending was nothing boring dull and predicable. 5 out of 10 for both sequels

Tongue-in-cheek slasher spoof, made back-to-back with the previous installment, Unhappy Campers, from director Michael A Simpson and writer Fritz Gordon, has serial killing transsexual Angela Baker(Pamela Springsteen)assuming the identity of Maria, a street kid she plows through with a garbage truck, so she can infiltrate a new Summer Camp near where she was once counselor. The camp is an experiment where underprivileged and rich youth join together in a unified setting proving that "we all can get along" no matter what kind of family and locale we come from. It goes horribly wrong when Angela, under wig, returns to her "Angel of Death" role murdering those she considers morally corrupt. Three wilderness groups are formed with the various youth camps spreading out with a counselor assigned with Angela wiping out one set of victims at a time, moving to the next one when she's finished. Before you know it, there are few left to slaughter.Cute red-head Tracy Griffith(Skeeter;The Final Power)as a suburban band student, and potential boy-toy, East LA Latino "thug-with-a-heart-o-gold", Tony(Mark Oliver) soon find themselves baring witness to Angela's rampage perhaps doomed to the same fate. Kooky B-movie character actor Michael J Pollard has a funny role as one of the founding counselors, with a Playboy bunny belt buckle, who tries landing a wealthy "skank" in a tent, actually succeeding before Angela corners him for execution, sickened at his fornication. Cliff Brand is a cop, Barney Whitmore whose son was beheaded by Angela, the third counselor hoping to someday catch and kill the murderess responsible. Sandra Dorsey is lazy counselor Lily who has her campers performing menial tasks for her such as taking away the trash and bringing her bug spray. Her demise, through the use of a lawnmower, is rather unique. The other victims are the same clichés paraded out for Angela to dispatch in one way or another. Those who either rent or purchase the DVD should check out the raw gore footage included in the special features. While most of them pretty remain intact within the finished product, there's a beheading from Angela's ax(..showing hands still moving with gushing blood flowing)and a nasty aftermath of a victim hoisted by Angela up a flag pole falling head-first splatting to the ground, that are rather memorable. While the sequels to the franchise have a fervent cult following(..Angela using various methods to destroy human lives, following up each murder with a type of witty/witless one-liner)who embrace them as cheesy 80's slasher flicks, I really find them rather joy-less exercises, with most of the murders cheap and clumsy. They are really no different than those repeated Friday the 13th sequels, with Angela assuming Voorhies' role, with the exception of her being a chick and alive. The idea that Angela can kill so many without being discovered is a stretch, to say the least, especially with all the screaming. And, while many love the warped humor Angela provides, this sequel even strains to deliver in that category, giving us something to smirk at here and there because most of the characters are developed for us to despise so that we can giggle when she destroys them in *creative* ways. One victim has his arms removed by a rope tied to a jeep Angela drives. An ignited fire-cracker is used on a practical joker's face. Angela uses a stick to pummel victims across the head. One is shot several times by a gun into the chest. Tent spikes are hammered into a victim's hand and head. But, even though they sound gruesome, director Simpson shies away from displaying the gory goods for the audience clamoring for such violence.

Angela Baker (Pamela Springsteen) is back returning to the infamous camp, where she murdered many of the counselors at the camp from the year before. Now this camp has been re-named as Camp New Horizons. Which it's supposed to make Rich Kids learn with the poor ones as well to work together. But the new owners (Michael J. Pollard and Sandra Dorsey) are trying to save money for not using the camp as its full potential. The new camp counselors are careless, horny, disrespecting and extremely rude. Now Angela wants to teach these Camp Owners and Camp Counselors a lesson.Directed by Michael A. Simpson (Sleepaway Camp 2:Unhappy Campers) made an uninspired but watchable dumb slasher horror movie with an enjoyable performance by Springsteen. Which she makes fun to watch with her funny dialogue and her odd if unusual kills but she seems tired at times. This movie seems to be really cut for time, especially the violent if ordinary murder sequences. Amateurish cast do their best but Tracy Griffith as one of the counselors is likable and cute as well. Die-hard fans of the series will enjoy it, others beware. (***/*****).