Curse Of Chucky, although the beginning of a fascinating chapter in the legacy, feels almost a bit in stasis, or rather kind of still trapped in the cloud of exhaust left behind by the rip roaring double feature of Bride and Seed, which are pretty hard to top. The cool thing about this one is that Brad Dourif not only gets to voice Chucky but also play Charles Lee Ray once again in some stylish flashbacks to the 80’s, where we see him involved in the lives of a Chicago family whose young daughter grows up to be our protagonist, a wheelchair bound, traumatized girl named Nica, played by Dourif’s own daughter Fiona who has amassed a cult filmography and rogues gallery of villains these days that is almost as prolific and impressive as her dad’s. Nica lives in a freaky old house with her ailing mother (Chantel Quesnelle) until a family tragedy heralds the arrival of both her domineering, sleazy sister (Danielle Bisutti) and Chucky himself, disguised in his formerly benign looking self and playing the waiting game until he can spring to action. This is a fun entry, but it doesn’t quite have the same deranged wind in its sails as the previous two and sometimes feels a bit… stuck in airy passages where not much happens. When it gets going though it’s damn good, there’s some great use of movement in the stalking/kills and it’s a treat to watch an apparently unblemished, fresh faced Chucky doll slowly lose the fake face revealing that torn up, scarred rubber nightmare of a face beneath. Plus Fiona Dourif is a huge asset to the franchise, she’s got the same high-wire intensity and demonic charisma as her dad, talent definitely runs in that family and I love her character here. Fun stuff.
In Don Mancini’s Seed Of Chucky, Brad Dourif and Jennifer Tilly’s demon doll couple unleash their spawn on the world, although the resulting progeny isn’t as… ill adjusted as it’s messed up parents, at least initially anyways. This is the most demented, hilarious film in the canon and although it’s not quite as coherent or witty as Bride before it, still holds second place for me, if on nothing but sheer shock value and WTF pedigree alone. The film blasts off the screen and into the real world, giving Tilly a chance to send up her own slutty image and play herself for a good portion, as she stars in a Chucky iteration and vies desperately for a role as the Virgin Mary in a biblical character study directed, of all people, by hip hop artist Redman, also playing himself. Over in the UK (don’t ask me how it got there) Chucky’s androgynous child (voiced wistfully by Pippin from Lord Of The Rings) has never met his parents until he sees the fake versions on TMZ, journeys to the states and resurrects them for real, so these characters exist for real and fake in the world and it all makes your brain melt a bit. This is a deranged vision, I appreciated Tilly’s willingness to go full bugnuts and make fun of herself very, very savagely. Chucky and Tiffany fight over both the gender and murderous ambitions of their kid, who isn’t sure whether he or she is a he or she and whether he or she wants to be a benign, gentle spirit or a prolific, Fisher-Price mass murderer like mommy and daddy. Got all that? It doesn’t matter, as long as you’re willing to go along for the ride and have some fun, which the films offers in spades, and I haven’t even mentioned John Waters as a sleazebag paparazzi photographer who catches Chucky in, shall we say, a *very* private moment. The franchise has come a far cry from the simple, effective notion of a possessed doll hunting a kid and killing anyone who stands in his way, but the snowball trajectory from that to this mad world, meta, loopy universe chapter of the legacy is something to behold, and of each new interlude, the creative energy, madcap vibes and brazen storytelling of Bride and Seed are my favourite so far. Join me next time when we look at the next two, which couldn’t be more different.
Ronny Yu’s Bride Of Chucky is the point where the franchise deliberately goes off the rails and reinvents itself into something demented, meta, and completely inspired. Chucky gets a new look here, I mean you can’t really kill the little bastard but his visceral encounter with the wind fan in part 3 has left him quite a sight, all metal stitches, stark patches of sewn on hair and jagged scars adorning his plastic visage. He’s brought back to life by trailer park dwelling mega-psycho ditzy maven Tiffany (Jennifer Tilly), an aggressive groupie and former girlfriend of Charles Lee Ray’s, resurrecting him with more voodoo and, once it’s apparent that these two had a more troubling, dysfunctional relationship than Harley Quinn and The Joker, eventually trapped in a female bride doll of her own, bonded to Chucky in kinky rubber wedlock complete with a hilariously sincere sex scene. They hit the road looking to find a secret amulet in Ray’s grave that can give them both human bodies, piggybacking in the van of a teenage runaway couple (Katherine Heigl & Nick Stabile) escaping the girl’s nasty army colonel daddy (the late John Ritter). The plot is framework for one hell of a bunch of kills, jokes, bickering, heavy metal soundtrack choices and dark humour, this is by and far the best film in the canon for me, and Tilly is a big part of why it works so well, she’s the wild card element that turns a well established slasher formula into something that transcends its own blueprint and becomes just… wild. Director Ronny Yu also helmed the awesome Freddy Vs. Jason, another slasher reworking for two legendary franchises that has the same loopy, infectiously fun meta energy, metal music and inventive, vivid flesh and blood opening credit graphic design. The kills are unbelievable and one cheekily references another beloved slasher icon, the gore is cartoonish yet still ruthless and the overall vibe is one of utter devilish revelry. Such a fun time and the harbinger of a new, crazier, bloodier era in the series.
Child’s Play 3 is the last of the films that focuses primarily on Chucky’s relentless pursuit of Andy’s soul, before the franchise reinvents itself and goes completely cuckoo bananas in the best way possible, but I’m getting ahead of myself. This is a solid entry, taking place a few odd years after the second film, with a teenage Andy (Justin Whalen, with heavy young Eddie Furlong vibes) yanked out of the foster care system and shipped off to military school. Chucky is still somehow back from the dead once again, resurrected in a slick opening credit sequence that features “plastic anatomy regrowth” effects that look like they inspired Brandon Cronenberg for some of the gooier stuff he put into his film Possessor. Now, military school is never a fun place to be in movies and I imagine it wouldn’t be very great in real life either, Andy has it tough because this particular venture is run by a power mad wannabe hairdresser sergeant played by Andy Robinson, who is great at being an absolutely unhinged loony, as we know from his turn as the zodiac killer in Dirty Harry. The rest of his fellow boot campers aren’t so nice either, apart from one girl (Perrey Reeves from Entourage, lovely here) who takes a shine to him until inevitable romantic sparks fly for a winning couple dynamic. Chucky arrives on scene after brutally butchering the amoral CEO of the toy company (Peter Haskell) that made his perennial rubber avatar and promptly but stealthily murders a garbage truck driver, arousing Andy’s suspicions that he’s finally tracked him down once again. The kills here and general arc at the military camp are fun enough, with the eventual villain’s confrontation between him and Robinson’s certifiable big boss a delirious, diabolically suspenseful set piece involving the world’s most disastrous botched straight razor shave. The film kicks into spectacular gear for the finale though, set in a giant abandoned amusement park in the nearby area, a hectic, hallucinatory howl of a showdown complete with underground roller coasters, tons of multicoloured lighting and acres of billowing dry ice, it’s a huge stylistic exhale after the drab visual palette of the military academy and lets Chucky and those trying to end him truly go nuts and play around with space, lighting and effects. It also has a ruthless send-off for this demon dolly involving some sort of giant industrial fan with big sharp blades, it’s a satisfyingly gory final death (of many this little fucker has bounced back from) for him and a nice cap off the last of the “Chucky vs. Andy” films in the canon, before new territories are charted. Great stuff.
Child’s Play 2 picks up not long after the first left off for a sequel that’s similar yet stronger in quite a few ways. Young Andy has been tossed into the foster care system after his mom can’t deal with the memories of their initial encounter with Chucky aka Charles Lee Ray (Brad Dourif), and she has been remanded to a psychiatric facility. His social worker (always nice to see Grace Zabriskie) places him in a well meaning but not properly equipped suburban family with a foster mom (Jenny Agutter) who cares about him and a dad (Gerrit Graham) who is sceptical about his past affecting his mental state living with them. It’s not long before Chucky, resurrected with new spare doll parts in a neat assembly line opening credit sequence, comes looking for him once again, and all hell breaks loose. I felt sad for poor Andy, not only continuously tormented by that little ginger haired fucker, but also as a result now left without his birth mother and forced into the notoriously turbulent US foster care system. The film’s strongest aspect is a sweet, life affirming relationship he has with the family’s other adopted kid Kyle (Christine Elise) who takes him under her wing in a big sister capacity and looks out for him. It’s a believable, compassionate arc for both and they get an absolutely ferocious final battle with Chucky in the toy factory he came from, complete with all kinds of mangling machinery, buckets of oozing practical gore and melted plastic effects and a surge of climactic energy. This is an improvement on the already spectacular first film, especially so for me due to the affecting dynamic between Andy and Kyle, some rip snortin set pieces (I laughed hard when Chucky gets launched through a windshield at top speed) and more of the same manic, diabolically mischievous energy that only Brad Dourif as this character can bring us. Good times.
So I’ve been marathoning the Chucky movies for the first time lately and oh my god what a balls out franchise. I’ll start with the first, Tom Holland’s Child’s Play from 1988, because this series starts out slowly, modestly and gradually builds to such a fever pitch extravaganza of meta goofiness and deranged, Joe Dante level lunacy it has me giddy. Everyone knows the story of the first by now: Chicago serial killer Charles Lee Ray (the inimitable, legendary Brad Dourif) is gunned down by a ferocious police detective (Chris Sarandon, always awesome) in a toy factory, but not before using dark voodoo to transfer his soul into a Good Guy doll, which runs about the city on a murderous rampage, eventually finding his way to the home of young Andy (Alex Vincent, adorable), where he proceeds to make life hell for him and his mom (Catherine Hicks). Dourif is key to what makes this character work so well that we’ve gotten as many sequels as we have, I’ve rarely seen an actor do more with his voice, give more dimension, dark humour and genuine malice from behind a recording booth, but this is Dourif we’re talking about after all, this man can pretty much do anything. The first film is a great introduction into the franchise, a series that if anything gets better and better with each sequel, which is really rare in horror but sometimes does happen. The film benefits from Sarandon who is always a rugged, charismatic presence, switching up his evil vampire character in director Tom Holland’s other seminal horror classic Fright Night for a good guy role here, albeit one that’s very rough around the edges, and better for it. It’s fun watching him square off against Chucky and there is one hell of a fiery climax complete with ooey-gooey melting/burning plastic effects and a tirade of madness from the doll and Dourif that is genuinely scary, as far as killer dolls go. Stay tuned for my thoughts on each and every film in this franchise, because they are all gems, and you don’t often get that level of consistency and improvement on quality in slasher franchises.
This one kind of demands to be observed and reviewed as a quadrilogy instead of four separate films because they flow into one another and so do many horror franchises that spawned a ton of sequels, but each of the Critters films are under ninety minutes and therefore easy to binge. Add to that the fact that there’s a handy DVD four pack floating around out there for extra convenience and you’ve got one cool little package. It would be easy to dismiss these films as a giant ripoff of Gremlins and indeed there are discernible parallels but there is both enough anatomical and characteristically different features to these creatures as well as narrative originality in the films themselves to make them a franchise worthy of distinction. Plus, ya know, Leonardo DiCaprio in his first movie, like, ever.
So what are Critters? They’re an extremely troublesome, destructive race of outlaw aliens that kind of resemble a hybrid between porcupines, gorillas and… basketballs. They arrive on earth and quite literally roll around like basketballs with no real plan other than to evade a couple shape shifting cosmic bounty hunters dispatched to exterminate them as well as bite, chew, maim and terrify every human being they come across. The first film would kind of have an Amblin/Spielberg vibe if the critters weren’t so savage and R rated in nature, which is a perfect example of why this isn’t simply a Gremlins rehash. The evolved Mogwai were nasty little shits, no doubt, but these things are positively murderous and inflict the kind of gore that Romero would be proud of. The first two films take place in wistful Grover’s Bend, one of those sleepy little American towns where nothing bad ever happens until it does and then the town is never known for anything else *except* that incident. An apple pie rural family headed up by the great Dee Wallace must confront them and defend their farmhouse from critter advances in super gory, chaotic fashion. Oh and Billy Zane shows up with a painfully 80’s ponytail too, before being quickly dispatched in a barn. The second film is more of the same although they thought they could sneakily recast the great M. Emmett Walsh with decidedly less iconic Barry Corbin as the town Sheriff, nice try. The third film is the most effective and not just for Leo Dicaprio but also because the setting change from rural county to dilapidated big city tenement building is way more spookily atmospheric, and allows for some hilarious hijinks with a laundry chute. The fourth film should be great because it’s that obligatory horror entry that’s set in space (like Jason X or Leprechaun In Space or.. wasn’t there even a Hellraiser in space?) but it kind of plods along in humdrum territory, the critters don’t even show up until like over halfway through and the only really memorable work comes from the ever awesome Brad Dourif and the luminous Angela Bassett.
The one character besides the Critters that holds these four flicks together is a town drunk turned intergalactic warrior played by Don Keith Opper, who is kind of a weird, aloof dude but provides each new film with eccentric gusto while new supporting players surround him. DiCaprio shows signs of his career to come and carries the highlight third entry nicely, while the first two feel very much akin to one another in a sort of Halloween and Halloween 2 kind of way. Low budget slapdash cheese like this is my bread and butter, I’m very fond of 80’s trash horror franchises like this and was beyond stoked to see the DVD at Walmart last second before going through the til and be able to binge all four films in one night. They’re great fare of this shit is your cup of tea, and they have this maniacal, almost Evil Dead style comedic sensibility to them that I greatly appreciated. My favourite scene of the whole thing: Dee Wallace brandishes a giant double barrel shotgun out her front door to ward off two Critters incoming up the driveway. Suddenly they speak to each other in some Furby gibberish with subtitles, one observing “They have weapons!” “So?”, his buddy retorts. Dee fires off a round that obliterates one of the two beasts into a puddle of fur and blood. The other one looks over and exclaims “Fuck!” in their weird little outer space creole dialect. I love that warped sense of humour gifted unto these scrappy little flicks, they’re a ton of fun.
It’s always neat when a filmmaker gets to direct a feature for the first time and gain traction with their debut, one can sometimes get a sense of a fascinating career to come from an artist’s initial output. German director Fritz Böhm scores huge points in this arena with his debut feature Wildling, a wonderful concoction of folk horror sensibilities, a coming of age tale, lycanthropic creature effects, moody ethereal atmospheres and odes to Grimm Fairytale lore. It’s a lot to take on but never feels like too much for him or his accomplished cast of actors who all give beautiful performances.
Ana (Bel Powley) is a young girl who is raised alone in a remote cabin by a man she knows only as Daddy (Brad Dourif). He tells her her she cannot go outside for fear of the Wildling, a monster who eats children and hunts for her as she is the last of her kind. When she becomes a teenager things get complicated and through circumstance she finds herself in the outside world, a small town whose Sheriff (Liv Tyler) takes her in. She’s changing though and as the encroaching Northwest wilderness surrounds the town like an elemental spirit, so too does her emerging true nature haunt these people and cause fear and hatred, especially in a few folks who have hunted her race in the nearby mountains for generations while a mysterious, silent woodsman (cult actor James LeGros is right at home in this type of thing) hover around the woods around them.
This is an absolutely gorgeous film and hits hard for a number of reasons. Powell is a great find and turns confused naïveté into fearsome, raw primal power in a very physical performance. Brad Dourif is legendary and pretty much incapable of work that is not astonishing, and here too he provides a tragic, violent, conflicted and very intense portrayal of a man whose actions and decisions follow him like a storm. The film is beautifully shot, fluidly edited, the story is rich, deep yet never over complicated or stuffed with any stale exposition. Paul Haslinger, formerly of Tangerine Dream, composers an earthy, ambient and altogether classic original score full of nature’s essence, the danger of forests at night and the visceral thrill of discovering ones very own identity for the first time. It’s drama, horror, folklore and more in one seamless package and I love it.
It’s the great Tim Curry’s birthday so let’s look at a horror movie where he plays an evil clown… and no it’s not that one you’re all thinking of. Gingerclown is an awful, trashy, cheesy piece of crap and I loved every excruciating minute of it, despite probably losing a year or so of my life sitting through the entire 80 minutes of it (it somehow feels way longer). The ‘plot’ is barely there: an asshole jock makes the nerdy kid go into an abandoned amusement park in exchange for a kiss with his ditzy girlfriend. This carnival happens to be haunted by sadistic Gingerclown (Curry) and his merry band of prosthetic monsters who are somehow voiced by an all star genre cast that the budget feels like it suspiciously went only to. The acting of all the teens will make your eyes and ears bleed, the dialogue is so far beyond cliche it could be the fucking textbook on cliches. It feels like a terribly failed Tim Burton pastiche mixed with a low rent version of like Critters of Ghoulies with the fluid drenched, jerky animatronic effects and the whole thing feels sloppy, cheap and incredibly shitty. But you know me, I lap this cheap shit up like pigs at a trough, genre garbage is my formative bread and butter and this one is a fucking laugh. The actors are all having a ball including Lance Henriksen as a hung-ho ‘BrainEater’, Brad Dourif as a morbidly obese ‘Worm Creature’ and Sean Young as ‘Nelly The Spiderwoman’, the only one who approaches anything remotely resembling scary. Curry himself has a ball as titular Gingerclown, a cackling maniac who makes the most out of lines like “ Quack quack quacker… time to die, motherfucker!!” as he clumsily ambles down a hallway brandishing a rubber ducky. Like, wow. This guy is like Pennywise’s retarded twin brother who never made the big time. The sets are ambient enough, colourful and interesting but the lighting is super dark and muddy so it’s tough to tell what’s going on but that’s probably just to hide the hilariously primitive effects. This was written and directed by a Hungarian dude and often when someone from a different country tries to do a genre throwback to an era of American movies it ends up horribly tome deaf via the culture gap which is kinda the vibe here, the dialogue feels like it was fed through a short circuited algorithm. But hey if you’re in the mood for some ultimate trash of the trashiest, SHITTIEST variety then get drunk and give Gingerclown a go.
This one is an all timer for me and not just as a video game but as a gorgeous, cinematic piece of western storytelling. Gun is a terrific game, well ahead of its time for the PS2 era, but it’s also a brutal frontier exploitation tale, a larger than life, hugely badass yarn that benefits from one of the coolest voice casts ever assembled, fluid graphics, vast arenas to roam through and music that sets the tumbleweeds rolling, accompanies paddle wheeler boats down rivers and sweeps across the terrain like any great western score should. You play as Colton White (Thomas Jane in the kind of rough hewn gunslinger role he was born to play), who wanders the American frontier of late 1800’s with his mentor/father figure Ned (Kris Kristofferson, perfectly rugged) learning the ways of the gun and living off the land until lawlessness and trouble inevitably interrupt their peace. After a riverboat gunfight and a nasty killing spree perpetrated by psychotic preacher Reverend Reed (Brad Dourif, oozing his trademark brand of evil), Colton sets out beyond the horizon after him and finds intrigue, murder, conspiracy, a whole gallery of villains and even the secrets of his own birthright in a jaw dropping series of action set pieces, tense standoffs, train raids and firefights everywhere from Dodge City to the lands beyond. He goes up against vile, corrupt Mayor Hoodoo Brown (a scenery chewing Ron Perlman), joins forces with notorious outlaw Clay Allison (Tom Skeritt), does battle with fearsome native warrior Many Wounds (Eric Schweig) and eventually comes to the big bad wolf at the end of the chain of antagonists, a civil war general turned maniac named Thomas MacGruder, voiced by a booming Lance Henriksen in one incredibly thunderous portrait of bad to the bone. Other memorable work is provided by Wade Williams, Frank Collison, Kathy Soucie, John Getz, Nolan North, Robin Downes, Phil Proctor and more. The mechanics of the game are phenomenal, and like I said feel quite ahead of their time, or at least they did to me and always immersed me in that world. The gunfights are hectic and ruthless but ever too chaotic and there’s a few super satisfying slow motion features like ‘QuickDraw mode’ that allow you to pick off enemies with otherworldly precision. The horse riding is tactile, smooth and the animals feel real right down to how they jump, get fatigued when you ride them too hard and the way your controller vibrates specifically for hoof beats on whatever path you’re charging down. This is a broad, brutal game that doesn’t glance over the uglier aspects of the west and feels dangerous, lived-in and grandiose both in terms of the natural environment and humanity’s encroaching industries like the railroad, wagon trains and dusty townships. Gotta give a special shoutout to the score composed by Christopher Lennertz, it’s a magisterial, often quite mournfully emotional piece of orchestral work that rivals and even tops many Hollywood compositions. There’s also quite a few references to Hollywood westerns including The Outlaw Josey Wales and many characters are named after real life old west figures to cement the feel. Quite simply one of my favourite games ever made.