Chucky: the TV Series (Charles Lee Ray Strikes Back)

Don Mancini's Chucky: the (Television) Series has made its debut on SYFY and USA. The show recalls the Tom Holland/John Lafia lineage, thanks to its aforementioned creator and includes Chucky's original, Kevin Yagher design. I suppose this means a sequel to the retooled, Aubrey Plaza Child's Play of a couple years back ain't gonna happen, even though anything starring the smokin' Ms. Plaza deserves extension, but ah well. 

With that acknowledged, the genuine Good Guy is a welcome presence, in what should be perceived as an official sequel to the charmingly odious Cult of Chucky. That Brad Dourif's Charles Lee Ray inhabits the mini fiend, and that old buddy, Andy Barclay (Alex Vincent) revisits the sadistic strand, suits me just fine. 

Alas, Chucky's initial episode isn't all that chilling, but then such things don't have to be for me to dig 'em. I fancy horror stories for their heightened atmosphere and uncanny angles, not to jump out of my seat (though on those rare occasions when such happens, I don't complain; it's neat to be jolted, if only in a fictional context).

Chucky is comical at times, but mostly serious: an approach in sync with the 1988 classic. To ensure the proper feel, the new Andy flaunts his predecessor's unassuming, empathetic vibe and even tosses in a warranted, Harry Potter jab while he's at it. He's the diligent but misread Jake Webber (Zackary Arthur), whose father (Devon Sawa) is a tough but practical boozer, who doesn't constantly deride his son's need for "retro" collecting, (though does go to town in one unfortunate, bat-bashing incident), rightfully suggesting that it wouldn't hurt the boy to make friends or ask a girl out on a date. I dig dad's philosophy. (Sawa also portrays Jake's uncle, and the splicing of the opposite-end brothers is seamless.)

On the whole, the supporting-character drive is believable. For example, Teo Briones (as Jake's wise-ass, athletic cousin), Alyvia Allen Lind, Bejorgvin Arnarson and Carina Battrick give a solid, embellishing edge to the interludes, but again, it's Chucky we've come to see, and if he's not cussing and slashing every which way but loose, hey, what's the bloody point? (Oh, Jennifer Tilly's Tiffany Valentine is set to guest star; that the cutie-pie might get into some sexy splattering would be a treat, if indeed the serial-killing shenanigans should allow it.) 

At this stage, the eight-part venture is performing as a Christine imprint, insinuating an aloof kid who'll gain vengeance through a coveted collectible. Time will tell whether our dear, demonic doll can carry the weekly load and deliver a death rate to its required, revengeful level. I sure as hell hope so. Chucky is far too cool a little bastard to go out in a one-season, play-it-safe fizzle. 

I saw Child's Play (2019)...

I'm surprised that "Child's Play" was remade at this stage of the game. I figured that Netflix would spring a succession of sequels. Shucks, the two that surfaced on the subscription source are worthy of theatrical play.

Even so, a retelling of Tom Holland/Don Mancini's acclaimed '88 terror tale now enters theaters: a restart for what (I'm presuming) its makers believe will be another long run.

Directed by Lars Kleverg, scripted by Tyler Burton Smith and produced by Seth Grahame-Smith and David Katzenberg (of "It" fame), "Child's Play '19" reintroduces Chucky (Mark Hamill, who voiced the character on "Robot Chicken") and a new Andy Barclay (Gabriel Bateman). Chucky is no longer a Good Guy. He's now a Buddi, produced by the omniscient Kalan Company. Also, Chucky '19's look isn't far off from Kevin Yagher's design (with perhaps a tinge of Hamill embedded in the features): a good thing, I suppose.

The remake's format follows the first film's, with a smidgen of "Westworld '73" stuck at its heart. We no longer get Brad Dourif's Charles Lee Ray tossing his spirit into some nearby doll, but rather an electronic personality that gains autonomous cognition, thanks to the programming skills of disgruntled Kaslan employee. 

Andy's mom, Karen (Aubrey "Scott Pilgrim" Plaza) has no idea of the danger she's gifted her son, only that the pricey doll was returned to her store as defective. To ensure Chucky's insidious intent, this version is all the craftier when deterring her inspection, adapting and assimilating with meticulous, high-tech care. 

 

Watching "Texas Chainsaw Massacre 2" is also one of Chucky's invaluable, how-to tools. In this regard, like the old, the new Chucky enjoys the fine art of slaying. 

As the gruesome deaths pile, Detective Mike Norris (Brian Tyree Henry) investigates. Andy knows full well what's happening, but even with the officer at his disposal, it seems fruitless to tell his neighbor that his toy robot is to blame.  Even so, Norris does eventually deduce the farcical worst, but by then the surreal situation is near irreparable.  

To seal the gory deal, the film's blood overflows, and yet as much as the set-ups unsettle (and boy, do they ever), they never exude the splattering spunk of "Halloween '18", which rose per careful cause. Though "Child's Play '19'"s execution is competent, it still doesn't or redefine or revitalize the series. It could have played as a direct-to-Netflix entry: ironic, considering my prior claim that the recent sequels are big-screen worthy.

I don't know how successful "Child's Play '19" will be, but I suspect it'll fall into the same ill-fated, retry category as "Poltergeist"; "Fright Night"; "Total Recall"; "Ghostbusters"; "Dirty Dancing"; "Fame"; "The Karate Kid;" and as much as I fancy 'em, "RoboCop" and "Conan the Barbarian". 

If, indeed, the film's box-office fizzles (and facing "Toy Story 4" might ensure that), the Chucky saga could come to a halt. It's unlikely that any source (Netflix or otherwise) would then back a "Cult of Chucky" sequel. (Some claim that we could get two competing, Chucky story lines at the same time, as we almost did with Bond in the '80s. SyFy even has a Chucky television series in development, with Mancini on board. Considering the popularity of DC/WB's Multiverse, these prospects might not seem far-fetched, but even so, does Chucky need to be this convoluted?) 

Perhaps the lesson here is to let things lie (i.e., not retell), especially if a franchise has demonstrated long-term success.  I mean, if the damn doll ain't broken...

I saw the Cult of Chucky...

In my estimation, writer/director Don Mancini’s “Curse of Chucky” was one of the best follow-ups to any supernatural/slasher series in recent years. Universal should have granted it a theatrical release and continued the tradition with its newest chapter, “Cult of Chucky”.

Mancini’s sequel picks up (more or less) where "Curse" left off. Andy Barclay (Alexander Vincent, star of original "Child's Play", its initial sequel, and who supplied a clever, "Curse" cameo) is still tormented by Charles Lee Ray—the soul of Chucky, that is--even going so far as to keep (for whatever risky reason) the little bastard's head locked in a safe. However, this far from quells Ray’s urge to inhabit other shells. 

From this point...well, let's just say  there's never a sure-fire way to keep a spunky, little demon down, but that's just one part of this strange (if not at times schizophrenic) tale.

To supplement Andy's return, conniving charmer Jennifer/Tiffany (Jennifer Tilley) transports a new Good Guy persona to an institute for the criminally insane, where "Curse'"s unfortunate Nica Pierce (Brad's daughter, Fiona Dourif) is under scrutiny, blamed for the carnage left in Chucky's wake. 

Throughout her ordeal, Nica becomes as dangerously imprudent as any demented "friend 'til the end". Also, her interaction with the smooth and seductive Dr. Foley (Michael Therriault) heightens the story's tension, since the psychologist perceives Chucky as little more than Nica's delusional alibi. Big mistake!

The film’s title (and therefore, its unfolding theme) references Ray’s intent to recruit others into his mad web (and oh, wait to you see the wild, "Multiplicity" way in which it's done), but also Chucky's pop-cultural influence beyond the films. It doesn’t matter that “Curse” and “Cult” have been shortchanged on the theatrical circuit. Chucky lives, breathes and slays just as well (if not better) via direct-to-home viewing.

In atmosphere, “Cult” emulates "Curse'"s slow-burn gloom. Like its predecessor, it contains humor, but not in an over-the-top way. It’s a horror film on all counts and by its second half becomes quite a wry, gruesome one. In fact, whether one views the R-rated or Unrated version, "Cult" strikes the same brilliant balance as Antony Balch's "Horror Hospital", though with sly "Blood Feast", "One Flew Over the Cuckoos Nest" and "Psycho" sprinklings. 

As fulfilling as it is, “Cult” isn’t going down as a cinematic trendsetter. It does succeed, however, in supplying lots of unsettling glee, which is precisely what "Child's Play" fans want. It’s also ideal viewing for this Halloween season.

Pop some corn and give "Cult" a rebellious view. The snobbish critics may not smile upon you, but Chucky sure as hell will.