Written and directed by Don Mancini
Curse of Chucky focuses on the conflict, grief, and even humor of what happens when you get that special little Good Guy in the mail. The setting is new to many of the fans of the series—an old dark house. We have a character in a wheelchair. A greedy vulture-like family that swoops in when grief is as fresh as the recently departed’s grave. But something about all these elements (or should I say too many elements) clashing at once doesn’t allow for a cohesive experience.
One day in our old dark house, a very lovely and very wheelchair-bound Nica (F. Dourif) receives a mysterious gift in the mail: a new Chucky doll, which she feels is totally retro (ah, the meta). Her mother (Quesnelle) thinks it’s odd that she received it—so unexpected to get a ginger doll baby from the 80’s in the mail with no “from” address. They take him out of his packaging and sit him down, but the little fucker does not stay down for long. Mom ends up dead—a broken bloody mess on the floor. Cut to Nica’s older sister, Barb (Bisutti), arriving at the house with husband, child, nanny, and Catholic priest in tow. Her daughter, Alice (Summer H. Howell), falls for Nica’s new friend, who teaches her important lessons in life about voodoo and atheism. “There is no God,” he tells her during playtime.
Lots of people die, but the gore was not extreme enough to shock (granted, this was the R-rated version they brought to Fantasia). The Blu-ray promises more gore, but I don’t think it’s going to solve the schizoid feel of the film. It’s not that violent, not that funny, and quite frankly, not that entertaining. It’s a watered-down mélange of all the Chuckys before it, which is a problem because it just reminds you of the earlier, more fun movies. One can’t help but think that the actors in the previous two installments (Seed and Bride) had many more opportunities to shine. The characterizations in Curse are standard.
I could never get over the fact that the set was a creepy dark house and none of that environment and atmosphere was really explored. The grafting on of a What Ever Happened to Baby Jane? style sibling rivalry melodrama and an Old Dark House ghost story tone to the Chucky series is a misstep, unless the director is stylistically up to it. The uninspired, TV movie-level visual approach leaves the house just looking like a set. Old wallpaper does not a spooky melodrama make. Horror evokes strong feelings, images, tones—all elements have to work towards that goal: if, in the name of “restraint” you merely remain lukewarm, you don’t succeed. If you can’t pull it off, then give me more gore, and if your blood budget is low, then show me more Chucky. After six movies don’t hide him. Rejoice that he is killing again…and again…
One thing Curse has going for it is you do get more Dourif for your dollar: In fact not only do you get a double dose of Dourif himself (in both dubbed doll-voice and fleshly form), but playing one of Chucky’s prime targets is the Seed of Dourif: his daughter, Fiona. The performances are all fine—especially the great Brad Dourif, of course, whose murderous surliness and lunatic glee are the heart of this series. For super-fans towards the end is actually where the fun begins; it’s a shame that energy and glint weren’t present throughout the production. If you are a fan of the series, see this one for the payoffs in the last third. It will make you smile. It made me smile. It’s just unfortunate that you have to sit through such rote material to get to it.
Curse of Chucky represents the filmmakers’ compromise between continuing a series and rebooting it. As Part 6 of a series, with the two previous chapters being so crazy and over-the-top, the strategy of de-escalation doesn’t really work. It’s too muted but, at the same time (at least in the R-rated cut screened at Fantasia), not dark and brutal enough to make the menace of Chucky palpable. The curse of Curse of Chucky is that while it may be straining to appeal to many, it ultimately satisfies none.
2 1/2 out of 5
Who Goes There Podcast: Ep 152 – Cloverfield Paradox & The Ritual
Last week Netflix shocked the world by not only releasing a new trailer for Cloverfield Paradox during the Superbowl, but announcing the film would be available to stream right after the game. In a move no one saw coming, Netflix shook the film industry to it’s very core. A few days later, Netflix quietly released horror festival darling: The Ritual.
Hold on to your Higgs Boson, because this week we’ve got a double header for ya, and we’re not talking about that “world’s largest gummy worm” in your mom’s nightstand. Why was one film marketed during the biggest sporting event of the year, and why was one quietly snuck in like a pinky in your pooper? Tune in a find out!
Meet me at the waterfront after the social for the Who Goes There Podcast episode 152!
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The Housemaid Review – Love Makes the Ghost Grow Stronger
Written and directed by Derek Nguyen
Vietnamese horror films are something of a rarity due largely to pressure from the country’s law enforcement agencies that have warned filmmakers to steer clear of the genre in recent years. The country’s exposure to the industry is limited, but that doesn’t mean that there aren’t a handful of filmmakers out there that are passionate and determined to get their art out into the world. IFC Midnight has stepped up to the plate to shepherd writer/director Derek Nguyen’s period ghost thriller The Housemaid in hopes of getting it in front of American horror fans.
Aside from a few moments that delve into soap opera territory, Nguyen’s film is full of well-crafted scares and some surprisingly memorable scenes that sneak up at just the right times. For history buffs there’s also a lot of material to sink your teeth into dealing with French Colonial rule and mistreatment of the Vietnamese during the 1950’s. Abuse that, if you’re not careful, could lead to a vengeful spirit seeking atonement.
Desperate and exhausted after walking for miles, an orphaned woman named Linh (Kate) seeks refuge and employment as a housemaid at a large rubber plantation in 1953 French Indochina. Once hired, she learns of the dark history surrounding the property and how her mere presence has awakened an accursed spirit that wanders the surrounding woods and dark corners of the estate. Injured in battle, French officer Sebastien Laurent (Richaud) returns to preside over the manor and, unexpectedly, begins a dangerous love affair with Linh that stirs up an even darker evil.
Told in flashbacks, the abuse of workers reveals a long history of mistreatment that enshrouds the surrounding land in darkness and despair, providing ripe ground for a sinister spirit that continues to grow stronger. Once it’s revealed that the ghost has a long history with Laurent before her death, the reasons she begins to kill become more and more obvious as the death toll piles up. Using the real life history of indentured servants during Colonial rule, The Housemaid becomes more than just a self-contained ghost story, adding a good deal of depth to a story that could have just centered around a love triangle among Laurent, Linh, and the specter of Laurent’s dead wife.
Powered by desire to avenge tortured workers of the past and the anger fueled by seeing her husband in the embrace of a peasant girl, the apparition is frightening and eerily beautiful as she stalks her victims. One scene in particular showing her wielding an axe is the most indelible image to take away from the film, and other moments like it are what make The Housemaid a standout. The twisted sense of romance found in a suffering spirit scorned in death is the heart of the story even if the romance between the two living lovers winds up having more screen time.
The melodrama and underwhelming love scenes between Linh and Laurent are the least effective part of The Housemaid, revealing some of Nguyen’s limitations in providing dialogue and character moments that make us connect with these two characters as much as we do when the ghost is lurking around the frame. What does help to save the story is a well kept secret revealing a connection with the housemaid and the apparition.
Honestly, if this was an American genre film, the limitations seen in The Housemaid might cause more criticism, but seeing an emerging artist and his team out of Vietnam turn out a solid product like this leads me to highlight the good and champion the effort in hopes of encouraging more filmmakers to carry the flag. Ironically, the film is set for a U.S. remake in the near future.
The Housemaid hits select theaters, VOD, and digital platforms TODAY, February 16th.
Using the real life history of indentured servants during Colonial rule, The Housemaid becomes more than just a self-contained ghost story, adding a good deal of depth to a story that could have just centered around a love triangle.
Scorched Earth Review – Gina Carano Making Motherf**kers Pay In The Apocalypse
Starring Gina Carano, John Hannah, Ryan Robbins
Written by Bobby Mort and Kevin Leeson
Directed by Peter Howitt
Let me preface this review by stating right off the bat that I’m a huge Gina Carano fan, and will pretty much accept her in any role that she’s put in (are you going to tell her no), regardless of the structure and plausibility behind it, and while that might make me a tad-bit biased in my opinions, just accept it as that and nothing more. Now that I’ve professed my cinematic devotion to the woman, let’s dive headlong into her latest film, Scorched Earth.
Directed by Peter Howitt, the backdrop is an apocalyptic world brought on by the imminent disaster known as global warming, and the air has become toxic to intake, generally leaving inhabitants yacking up blood and other viscous liquids after a prolonged exposure, unless you’re one of the privileged that possesses a filter lined with powdered silver. Filters of water and the precious metal are in high demand, and only true offenders in this world still drive automobiles, effectively speeding up the destruction of what’s left of the planet. Carano plays Atticus Gage, a seriously stoic and tough-as-nails bounty hunter who is responsible for taking these “criminals” down, and her travels lead her to a compound jam-packed with bounties that will have her collecting riches until the end of time…but aren’t we at the end of time already? Anyway, Gage’s main opponent here is a man by the name of Thomas Jackson (Robbins) – acting as the leader of sorts to these futuristic baddies, the situation of Gage just stepping in and taking him out becomes a bit complicated when…oh, I’m not going to pork this one up for you all – you’ve got to invest the time into it just as I did, and trust me when I tell you that the film is pretty entertaining to peep.
While Carano’s acting still needs some refining, let there be no ever-loving mistake that this woman knows how to beat the shit out of people, and for all intents and purposes this will be the thing that carries her through many a picture. There are much larger roles in the future for Gina, and she’ll more than likely take over as a very big player in the industry – hey, I’m a gambling man, and I’ve done pretty well with my powers of prognostication. With that being said, the thing that does hold this picture back is the plot itself- it’s a bit stale and not overly showy, and when I look for a villain to oppose the hero, I’m wanting someone with at least a shred of a magnetic iota, and I just couldn’t latch onto anything with Robbins’ performance – his character desperately needed an injection of “bad-assness” and it hurt in that particular instance.
In the end of it all, I’d recommend Scorched Earth to fans of directionless, slam-bang wasteland pics with a touch of unrestrained violence…plus, Gina Carano is in it, so you can’t go wrong. If you’re not a fan of any of the above, feel free to skate on along to another piece of barren territory.
Looking to get your butt kicked in the apocalypse with extreme prejudice? Drive on up, and allow me to introduce you to someone who’ll be more than happy to oblige.
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