Child's Play (1988)
Dir. Tom Holland
Charles Lee Ray, aka the Lakeshore Strangler, is hunted by police. As a last resort, and thanks to some convenient knowledge of voodoo magic, the killer manages to transfer his consciousness to a popular kid's toy, the Good Guys doll.
Six-year-old Andy Barclay (Alex Vincent) loves the Good Guys franchise; he watches the cartoon on TV, eats the breakfast cereal, and wears the branded clothing. Andy's mom, Karen, a single parent, does her best to give the boy what he wants, and what Andy really, really wants is a Good Guys doll, naturally.
That's the basic set-up. Young Alex Vincent isn't annoying at all, which is not something that can be said for a lot of kids in films, and actress Catherine Hicks is believable as a mother with a 'compensating for absent father' attitude. But the most memorable character is the doll, Chucky, voiced by Brad Dourif. He's a sadistic, vindictive, foul-mouthed and merciless little shit. If you're a fan of black humour, he's also pretty damn funny at times.
Of course a kid's doll saying "Fuck!" is base humour, but when it's Brad Dourif doing it, it's classic stuff. CP has a fantastical but entertaining story, with enough attention given to the family side of things to stop it being just another cheap, worthless slasher/killer doll flick.
After the pummelling he took at the end of the first film, it's a miracle that Chucky is even able to come back (wait, are miracles still considered miracles if they're benefiting evil?), but he did and his goal is the same as before. So for Andy, who's now in foster care, the killer doll nightmare isn't over yet.
Poor Andy (same actor), the thing he once loved is now a thing he wants to avoid; why does that remind me of my ex? But on the plus side, he has Jenny Agutter to read him bedtime stories - that's gotta be silver lining.
Dir. John Lafia uses a lot of low to the ground camera shots, putting us in the world as viewed by a six-year-old. It also benefits the nastiness of Chucky, who's now even more desperate to get his murderous soul out of the plastic host. CP 2 isn't quite as good as the original film, but I feel it's definitely still worth your time if you enjoyed the previous one.
The Child's Play films have a somewhat notorious history in Britain. It'll be common knowledge to many UK horror fans as to why that is, but for the benefit of everyone else:
Although not a part of the controversial 'video nasty' list that was drawn up by the DPP (Director of Public Prosecutions) to protect the public from its own free will, the series somehow got associated with it.
It came about after unfounded claims that a murder in CP 3 in some way influenced a horrific real-world event that, out of respect for those affected, I won't dwell upon. But once the seed was planted in the minds of concerned citizens and parents, it remained.
Consequently, the previous films and subsequent sequels (despite the change of name from numbered Child's Play entries to Chucky films) were automatically notorious by association. Even today, some parents are uncomfortable with the Child's Play name being mentioned.
However, as is often the case, the negative press probably helped the film promotion, because people often want to see things they aren't supposed to, even if it isn't very good, like CP 3.
It's set eight years after CP 2, which, according to the film, means Andy is now sixteen. (I didn't do the maths, but I'll take it on faith that that's correct). Looking now like Wesley Crusher's more ballsy cousin, he enrols in military school. The resurrected Chucky inevitably follows.
The location means that weapons aren't in short supply for either party, but the asshole instructor and tough-but-sensitive love interest are woefully clichéd additions. Chucky is still fun to watch (and hear) but CP 3 is light on memorable moments.
Moving from horror into full force black comedy means the fourth instalment can poke fun at the horror genre at every turn.
Jennifer Tilly is good times as the Bride. She's engaging, sexy, and brings a new dynamic to the series, which is something that it was desperately in need of after the weak third film, and she can sew! ...kind of.
I usually FFW sex scenes in films — not because I'm offended by watching people pretend-fucking, but because I find them an unnecessary waste of screen time; why waste time with soft-core titillation when you can skip direct to the post-coital cigarette and get on with some actual plot?! — but the sex scene in BoC is pure gold. It's both characterisation and plot!
I don't know how other people feel about the changes that BoC brought to the previously established formula, but I know that it's my personal favourite of the films so far, which stands at seven, at time of writing. For me, the laughter and fearless self-parody help raise it above the usual piece of shit horror sequel.
It must also be said that even though the Tiffany character is a fan of all things murderous and dark, there's an underlying sweetness and vulnerability to her (the latter perhaps a result of the former?). That's not much compensation to her victims, but it's there, regardless.
The opening five minutes of the fifth film are some of the most entertaining minutes I've spent with a horror movie in a very long time.
After that it shifts perspective but remains mostly entertaining for a different reason.
Both Dourif and Tilly return to their respective roles; they're still the best cast evil dolls in cinema history, imo. My respect for Jennifer Tilly went from 'hadn't given it much thought,' up to 'near maximum' level.
There's a small number of bloody kills, but like BoC the focus is primarily on black comedy, so fans of one-dimensional slasher flicks may be disappointed. Instead, the self-deprecating laughs and stabs at horror cinema conventions are as sharp as Chucky's trusty knife.
Creator of Chucky, Don Mancini, takes the series back to its roots with fewer laughs and more horror in the sixth instalment. There's still humour, but it's very, very dark.
The problem with that approach is that the viewer responds by taking the film more seriously and it can become harder to differentiate it from all the other horror sequels that get shat out every year. But, luckily, it does still manage to stand out.
An aura of confidence accompanies the delivery, one that's perhaps fuelled by the belief that the change back to slasher/horror territory was the correct one at the time.
It's a feeling that's justified, because the first half of the film is perfect in every way.
Mancini's direction is flawless, the build-up is superbly paced (yes, even the many drawn-out, tense delays) and the characters and their relationships are well-defined. It's very different to the entry that came directly before it, but for a while the film is pretty great, only losing its impetus as it nears the end.
Brad Dourif's voice work makes the killer doll not just wicked but a vehemently evil, nasty piece of work; he really is sadistic this time. There's also fine work from Brad's real life daughter, Fiona. If she doesn't end up typecast in the genre, then she could go on to great things.
Oh, and just in case your button-finger is press-happy, stick around for a post-credits scene.
To get the most from the seventh film you'll need to have seen the previous six, because it's that kind of movie. In lieu of full explanations, it's self-referential and reliant on knowledge of previous characters/events. It also references other 'horror' films in fun ways, such as The Shining (1980) and Psycho (1960).
It takes place inside an asylum for the criminally insane, wherein Nica (Fiona Dourif) now resides, after her ordeal in the previous film. Given the setting, it's no surprise that there's a psychological edge to proceedings, but, even so, there are definitely a few totally unexpected things, that nevertheless did make sense.
The usual 'nut-house' stereotypes are there but put to good use. There's an ominous build-up and a steady pace, with enough teasing to keep us anticipating the next Chucky scene, and a wicked symmetry adds weight. But in attempting to fit a lot of the series history into the plot, it may feel too much like fan-service at times. The final twenty minutes aren't as good as what came before and do feel somewhat unfinished. Once again, look out for a post-credit scene.
Despite its failings, overall I enjoyed it and would welcome an eighth film. On reflection, I think the CP movies might be my favourite English language horror franchise, to date.
Six-year-old Andy Barclay (Alex Vincent) loves the Good Guys franchise; he watches the cartoon on TV, eats the breakfast cereal, and wears the branded clothing. Andy's mom, Karen, a single parent, does her best to give the boy what he wants, and what Andy really, really wants is a Good Guys doll, naturally.
That's the basic set-up. Young Alex Vincent isn't annoying at all, which is not something that can be said for a lot of kids in films, and actress Catherine Hicks is believable as a mother with a 'compensating for absent father' attitude. But the most memorable character is the doll, Chucky, voiced by Brad Dourif. He's a sadistic, vindictive, foul-mouthed and merciless little shit. If you're a fan of black humour, he's also pretty damn funny at times.
Of course a kid's doll saying "Fuck!" is base humour, but when it's Brad Dourif doing it, it's classic stuff. CP has a fantastical but entertaining story, with enough attention given to the family side of things to stop it being just another cheap, worthless slasher/killer doll flick.
Child's Play 2 (1990)
Dir. John Lafia
NOTE: THIS SECTION CONTAINS MILD SPOILERS FOR THE FIRST FILM.
After the pummelling he took at the end of the first film, it's a miracle that Chucky is even able to come back (wait, are miracles still considered miracles if they're benefiting evil?), but he did and his goal is the same as before. So for Andy, who's now in foster care, the killer doll nightmare isn't over yet.
Poor Andy (same actor), the thing he once loved is now a thing he wants to avoid; why does that remind me of my ex? But on the plus side, he has Jenny Agutter to read him bedtime stories - that's gotta be silver lining.
Dir. John Lafia uses a lot of low to the ground camera shots, putting us in the world as viewed by a six-year-old. It also benefits the nastiness of Chucky, who's now even more desperate to get his murderous soul out of the plastic host. CP 2 isn't quite as good as the original film, but I feel it's definitely still worth your time if you enjoyed the previous one.
Child's Play 3 (1991)
Dir. Jack Bender
NOTE: THIS SECTION CONTAINS MILD SPOILERS FOR FILMS ONE + TWO.
The Child's Play films have a somewhat notorious history in Britain. It'll be common knowledge to many UK horror fans as to why that is, but for the benefit of everyone else:
Although not a part of the controversial 'video nasty' list that was drawn up by the DPP (Director of Public Prosecutions) to protect the public from its own free will, the series somehow got associated with it.
It came about after unfounded claims that a murder in CP 3 in some way influenced a horrific real-world event that, out of respect for those affected, I won't dwell upon. But once the seed was planted in the minds of concerned citizens and parents, it remained.
Consequently, the previous films and subsequent sequels (despite the change of name from numbered Child's Play entries to Chucky films) were automatically notorious by association. Even today, some parents are uncomfortable with the Child's Play name being mentioned.
However, as is often the case, the negative press probably helped the film promotion, because people often want to see things they aren't supposed to, even if it isn't very good, like CP 3.
It's set eight years after CP 2, which, according to the film, means Andy is now sixteen. (I didn't do the maths, but I'll take it on faith that that's correct). Looking now like Wesley Crusher's more ballsy cousin, he enrols in military school. The resurrected Chucky inevitably follows.
The location means that weapons aren't in short supply for either party, but the asshole instructor and tough-but-sensitive love interest are woefully clichéd additions. Chucky is still fun to watch (and hear) but CP 3 is light on memorable moments.
Bride of Chucky (1998)
Dir. Ronny Yu
Jennifer Tilly is good times as the Bride. She's engaging, sexy, and brings a new dynamic to the series, which is something that it was desperately in need of after the weak third film, and she can sew! ...kind of.
I usually FFW sex scenes in films — not because I'm offended by watching people pretend-fucking, but because I find them an unnecessary waste of screen time; why waste time with soft-core titillation when you can skip direct to the post-coital cigarette and get on with some actual plot?! — but the sex scene in BoC is pure gold. It's both characterisation and plot!
I don't know how other people feel about the changes that BoC brought to the previously established formula, but I know that it's my personal favourite of the films so far, which stands at seven, at time of writing. For me, the laughter and fearless self-parody help raise it above the usual piece of shit horror sequel.
It must also be said that even though the Tiffany character is a fan of all things murderous and dark, there's an underlying sweetness and vulnerability to her (the latter perhaps a result of the former?). That's not much compensation to her victims, but it's there, regardless.
Seed of Chucky (2004)
Dir. Don Mancini
After that it shifts perspective but remains mostly entertaining for a different reason.
Both Dourif and Tilly return to their respective roles; they're still the best cast evil dolls in cinema history, imo. My respect for Jennifer Tilly went from 'hadn't given it much thought,' up to 'near maximum' level.
There's a small number of bloody kills, but like BoC the focus is primarily on black comedy, so fans of one-dimensional slasher flicks may be disappointed. Instead, the self-deprecating laughs and stabs at horror cinema conventions are as sharp as Chucky's trusty knife.
Curse of Chucky (2013)
Dir. Don Mancini
The problem with that approach is that the viewer responds by taking the film more seriously and it can become harder to differentiate it from all the other horror sequels that get shat out every year. But, luckily, it does still manage to stand out.
An aura of confidence accompanies the delivery, one that's perhaps fuelled by the belief that the change back to slasher/horror territory was the correct one at the time.
It's a feeling that's justified, because the first half of the film is perfect in every way.
Mancini's direction is flawless, the build-up is superbly paced (yes, even the many drawn-out, tense delays) and the characters and their relationships are well-defined. It's very different to the entry that came directly before it, but for a while the film is pretty great, only losing its impetus as it nears the end.
Brad Dourif's voice work makes the killer doll not just wicked but a vehemently evil, nasty piece of work; he really is sadistic this time. There's also fine work from Brad's real life daughter, Fiona. If she doesn't end up typecast in the genre, then she could go on to great things.
Oh, and just in case your button-finger is press-happy, stick around for a post-credits scene.
Cult of Chucky (2017)
Dir. Don Mancini
NOTE: THIS SECTION CONTAINS MILD SPOILERS FOR CURSE OF CHUCKY.
To get the most from the seventh film you'll need to have seen the previous six, because it's that kind of movie. In lieu of full explanations, it's self-referential and reliant on knowledge of previous characters/events. It also references other 'horror' films in fun ways, such as The Shining (1980) and Psycho (1960).
It takes place inside an asylum for the criminally insane, wherein Nica (Fiona Dourif) now resides, after her ordeal in the previous film. Given the setting, it's no surprise that there's a psychological edge to proceedings, but, even so, there are definitely a few totally unexpected things, that nevertheless did make sense.
Despite its failings, overall I enjoyed it and would welcome an eighth film. On reflection, I think the CP movies might be my favourite English language horror franchise, to date.
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