Even “Toy Story 4,” with its creepy Howdy Doody-style automatons, is offering a family-friendly alternative.īeing an AI with faulty circuitry, Chucky 2.0 doesn’t have the hilarious vulgarity or the single-minded murderous glee - the soul, if you will - that made Dourif’s Chucky such an unnervingly human abomination. Your appetite for this kind of homicidal puppet show might just as well be sated by “Annabelle Comes Home” and “Brahms: The Boy II,” both due out this summer.
Buddi chucky movie#
The first movie may have awakened every viewer’s inner pediophobe 31 years ago, but devil dolls have long since saturated the contemporary horror lexicon, and not even Mancini’s Chucky corners the market anymore.
The effort here, however, feels especially futile. Its controversial development history aside, “Child’s Play” is the latest in an endless trend of vintage horror franchises getting a millennial-skewing retrofit (the best of which is probably last year’s surprisingly adept “Halloween” sequel). Where the original doll caused an awful lot of damage with a hammer, a knife and an electroshock machine, this one works wonders with a lawn mower and a table saw. There is one memorably grisly image, but I’d lose face if I gave it away suffice to say that things get a little upchucky. The protracted murder sequences are less scary than simply sadistic and unpleasant, some of them recalling the elaborate Rube Goldberg mechanisms of the “Final Destination” series. Whatever cautionary tale about technological dependence the movie may be advancing gets thrown out the window as Chucky begins his killing spree, setting out to eliminate anyone who dares to mistreat Andy or tries to be his friend (which means basically everyone). Chucky - an early birthday gift from Andy’s mom, Karen (Aubrey Plaza) - hails from Kaslan’s implausibly popular Buddi line, which means he comes equipped with his own handy smartphone app and can do a lot more than just walk, talk and open his big blue (sometimes red) eyes.įrom there, you can more or less guess how this “Child’s” plays out, at least up until a bonkers climax that brings at least two Stephen King classics to mind. Recasting the Chucky legend as an anti-technology satire is certainly a different if not exactly novel way into the material, updated here by Norwegian director Lars Klevberg and screenwriter Tyler Burton Smith.Īt the very least, the tech angle helps explain why an adolescent boy named Andy (Gabriel Bateman), who’s notably a few years older than his 1988 counterpart, would want to play with such a doll in the first place. Which is not to say that this “Child’s Play” is entirely without its brutish, haphazard pleasures. READ MORE: ‘Child’s Play’ reboot gives Chucky a killer high-tech twist » Fans of the real-deal Chucky movies, with their cheerfully low-rent effects and bawdy, impish humor, may well regard this slick new offering as a desecration masquerading as an upgrade.
Several creative forces behind the original series, including writer-producer Don Mancini and actors Brad Dourif and Jennifer Tilly, have voiced their disapproval. There’s an unavoidable metaphor there, insofar as “Child’s Play” itself feels like something of a defective robot, though its many detractors have likened it to an example of brand betrayal. He’s something altogether more banal, a defective robot manufactured by a powerful tech company, Kaslan, whose sleek Apple-like gadgets have all but overtaken every household.
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Beneath all the nasty jolts and vicious bloodlettings in the new “Child’s Play” is almost enough material to furnish a mildly interesting episode of “Black Mirror.” A high-tech, ultra-gory reboot of the 1988 thriller that spawned a still-ongoing horror franchise, this new movie also turns on a creepy red-haired doll named Chucky, only this time he hasn’t been supernaturally possessed by the soul of a serial killer.
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