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Wrong Turn (2021)

There have been countless horror reboots, prequels and sequels released this year that have been taking the industry by storm with some proving to be successful (Candyman) and others not as much (Spiral). Regardless, revisiting classic horror franchises seems to be a way to bring that nostalgia for horror fans. However, whereas some of these films have wanted to go down a different path while still remaining similar to audiences, this year’s Wrong Turn reboot goes in the completely opposite direction. The 2003 original film sees a group of friends hunted down in the West Virginian wilderness by a small group of savage cannibals, this 2021 reboot tells a different story entirely. Boasting a similar initial synopsis, we see a group of young explorers hiking along the Appalachian Trail but this is where the similarities end as Wrong Turn changes up the culprits to incorporate social commentary and bring a new twist to the classic tale. This makes the film completely unpredictable, even to those who have watched the original, as it doesn’t follow the same plot points at all.

The film is directed by Mike P. Nelson and written by original Wrong Turn writer Alan B. McElroy. McElroy completely deconstructs his original story and changes it to something new and timely while Nelson’s direction is raw and unflinching. The result of which is a film that follows the trend of incorporating political discussion while also subverting many clichés often synonymous with this kind of film.

Charlotte Vega is cast as the film’s protagonist Jen, a woman who is unsure what she wants to get out of life. As she makes her way visiting various parts of the Appalachian Trail with her friends, Jen clearly has a desire for adventure but doesn’t know how to translate this into her professional life. Despite being surrounded by her accomplished friends, the film follows Jen as in finding a way out of the horrors, she is able to reclaim her own identity and her sense of self. Vega does a fantastic job of balancing Jen’s sense of dread with her instinctual resilience which is the driving force of the film. An important part of any horror film is making sure you have characters that can push the film along and although Jen’s character isn’t completely fleshed out as well as it could be, it’s enough to show the contrasts between the life that Jen has versus the life that she eventually leads.

Wrong Turn has an incredible support cast that really create an immersive experience and draw you into the community that has formed within the woods. In particular, Bill Sage as The Foundation’s leader Veneble is one of the film’s major highlights. Hellbent on preserving power over the community, Veneble is a great character and Sage clearly has fun with the role. His unpredictability and fearlessness means that he is a character that should be feared.

Another great supporting turn was Matthew Modine as Jen’s father, Scott and as expected, he is great. We are introduced into the film’s narrative through Scott’s perspective so it lies on Modine to draw the audience in. As we see Scott visit the small town and the tensions that arise among the locals, Modine does a great job of portraying a flawed father who is willing to anything for his missing daughter.

Overall, Wrong Turn follows the trends of using horror as a means to explore larger discussions on racial, gender and sexual identity. It is because of this that the film results in an unpredictable and unflinching look into how the setting of the film serves as a microcosm of America as we see the cultural melting pot and the subsequent clashes which often have extra gory results. For those who are unfamiliar with the Wrong Turn franchise, you don’t need to have seen any of the previous instalments as this film does a brilliant job of introducing the viewer into this world. It will be great to see if there are any sequels that follow this particular film’s narrative in the future.

What did you think of Wrong Turn? Let me know in the comments below!

Wrong Turn is available to watch on Netflix now!

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A Nightmare on Elm Street Ranking

If you had to ask me what my favourite horror franchise is, I would say A Nightmare on Elm Street with no hesitation. Home to Wes Craven’s iconic slasher villain, Freddy Krueger, a dream-haunting nightmare with knives for fingers on one hand. He’s disgusting and terrifying and doesn’t let his victims die easily. The first film was released in 1984 and has seen multiple sequels, a reboot and even a feature mashup with another certain horror icon. They’re not to everyone’s taste due to their extreme violence and inappropriate content but as a horror fan, I find them fun to watch. Kruegar is the first truly charismatic slasher to come from this genre as Jason and Michael Myers silently stalk and kill their prey. Freddy on the other hand likes to torment his victims and is constantly making grim jokes about their pending demise. Wes Craven has always been a skilled filmmaker but he really reached his peak with this creation. It’s brilliant and crosses the line between horror and humour. This makes the films entertaining and, dare I say, enjoyable to watch.

Now I’ve already done a ranking for the Child’s Play and Final Destination films which you can read here and here, respectively, but I thought it would be fun to look at this franchise as a whole and see where the films would slot from best to worst.

Without further ado, let’s delve into the nightmare and get on with the reviews:

A Nightmare on Elm Street (1984)

The one that started the nightmare. A Nightmare on Elm Street is a pioneer in the slasher genre, coming after Halloween (1978) and Friday the 13th (1980). Spearheaded by horror legend, Wes Craven and featuring Robert Englund as the gruesome killer, Krueger, we are plunged into a world that sees the teens of Elm Street slashed to death one by one. The film is widely known for its explicit violence, paedophilic themed subtext and also marked Johnny Depp’s film debut. A group of teens start being killed off one by one, apparently by a badly burned man with knives for fingers. Led by Nancy Thompson (Heather Langenkamp), the group work together to trap and kill the monster. It’s an iconic film. Even if you haven’t heard of it, you know what Krueger looks like and the basic premise of the film. Nancy is a brilliant protagonist and just like Laurie Strode in Halloween franchise, she is fearless when needed. It’s strange to think that a genre associated with the subjectification and glorification of violence towards women (which is a completely legitimate issue) also provides such progressive roles for women as well. There’s a humour in this film that you don’t really see in other slashers that would set a trend for franchises like Child’s Play and the sequels for Friday the 13th which purposely become weirder as the films went on.

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A Nightmare on Elm Street 2: Freddy’s Revenge (1985)

It’s no secret that I love camp horror films. I love a film that isn’t afraid to be highly satirical of itself and the genre. Despite only being released a year before, Freddy had become somewhat of a titan of horror. A sequel was rushed through with no involvement from Craven and the result is the polar opposite of its predecessor. The film follows the Walsh family who move into the Thomson family home five years after Freddy’s initial defeat. Teenage Jesse (Mark Patton) is struggling to fit in and finds himself getting into fights with his peers at school but his world is quickly flipped when the people who . The film has become a cult classic among fans and is known for its homosexual undertones with Englund himself declaring it a “bisexual film”. There is a strong argument to suggest that Jesse’s inability to fit in is due to his conflict with his own sexuality. The big issue that I have with this film is that it flips Freddy around to be the hero. When he’s bullied by a group of partying teenagers, the audience sympathises with him. This sentiment was shared by Craven himself who stated that Freddy should be “threatening and overpowering” which I think was missing. Freddy becomes a punchline in this feature rather than a genuine threat.

A Nightmare on Elm Street 3: Dream Warriors (1987)

This sequel does not get enough love. Coming off the failure of the previous installment, Dream Warriors is a brilliant addition to the franchise. It’s known among fans of the franchise that this film is fantastic but not as well known to horror fans in general who truthfully are missing out. Following a group of young people in a psychiatric ward, we see Freddy messing with the minds of these vulnerable individuals and watch as their pleas are quashed by the doctors and other authorities figures. The film marked Patricia Arquette’s film debut as Kristen Parker, a young teen who is chased in her dreams by Freddy who then cuts her wrists which looks like a suicide attempt to her mother who swiftly commits her to Westin Hills psychiatric hospital. She teams up with a group like her who have had nightmares of the same man and soon they are killed one by one. Calling themselves “dream warriors”, they plan to use their weaknesses as strengths to quash Freddy’s murderous attempts. The film also marks the welcome return of Heather Langenkamp as Nancy who has grown to be a psychiatrist, inspired by the events of her childhood. This film features some of the best death scenes in the franchise and sees Craven taking control of his franchise once again.

A Nightmare on Elm Street 4: The Dream Master (1988)

The film follows the remaining survivors of the third film (Tuesday Knight taking over the role of Kristen Parker) after they have been released from the psychiatric unit one year later. Kristen is still haunted by what happens and Freddy returns to cause havoc on the survivors and their school friends. This is where the films start to play the same routine and becomes more repetitive but trying to make the death scenes as ridiculous as possible. There is even a death where one of the girls is turned into a cockroach and squished! It’s still a good popcorn flick but largely unoriginal. This film also features Lisa Wilcox as new protagonist, Alice Johnson, who takes the helm as scream queen for this segment after befriending Kristen. I like the aspect of bringing someone else into the dream which is continued from the third film into this one. Freddy uses Alice to lure him to her friends who he starts to pick off one by one, including a horrific death involving her asthmatic friend. This installment was the highest grossing the original franchise and kept it that way until 2003’s Freddy vs. Jason so it was a huge hit with audiences.

A Nightmare on Elm Street 5: The Dream Child (1989)

The fifth film follows Alice (Lisa Wilcox) who is still haunted by the events of the fourth film. The opening scene throws us immediately into the dream world as we see Alice as Amanda Krueger, a nun who works in a men’s psychiatric ward who is subsequently raped by masses of inmates when she is accidentally locked among them. She has a second nightmare that sees Freddy as a baby digging up his remains from the fourth film and brings him back to life. After Alice’s boyfriend, Dan (Danny Hassel), dies tragically, Alice is convinced that Freddy is back which is swiftly followed by the revelation that she is pregnant and Freddy subsequently starts to give the unborn baby powers so he can be more like him. There is a lot going on in this film and the more I think about it, the more confused I become. There’s the usual plotline of Freddy killing teenagers then the subplot of Alice’s pregnancy and then there’s the second subplot involving Freddy’s origins. It’s a lot to cram into one film and naturally the film fails because of it.

Freddy’s Dead: The Final Nightmare (1991)

This installment is by far my least favourite. If you thought the previous film was overcomplicated then you’re not prepared for this one. Freddy has killed all the kids and teenagers in a small town and seeks out the one survivor to bring more teens to kill. There are so many questions that come to mind regarding the cannon and where this sits in the universe as there is no reason for his reincarnation from the last one. The adults in the small town have gone insane and there is definitely a strange Twin Peaks tone that they are going for that fails spectacularly. This is probably the rock bottom for the original franchise and seems to just be a money grab rather than a genuine passion project. It also features a cameo from Johnny Depp and a bizarre cameo from Roseanne Barr who plays one of the deranged townspeople.

Wes Craven’s New Nightmare (1994)

This film takes place outside the universe and is a unique experience as it is very meta. Following the making of a new film, Freddy breaks out and starts killing the cast and crew. Featuring a return from Heather Langenkamp and with many of the other parts played by cast and crew. Wes Craven returned for the project and the great thing is that it seems like everyone is genuinely having fun. It’s a shame that this film had become largely forgotten as it is a great addition to the franchise. It’s to Craven’s credit that he is always trying to think of something new while still being faithful to the originals. The Freddy in this film also goes back to darker routes and becomes less comical than the last few installments.

Freddy vs. Jason (2003)

This film is one of those that is so bad it’s great and I love it. Freddy resurrects Friday the 13th villain, Jason Voorhees in a bid to scare the residents of Elm Street while they’re awake so he can kill them while they sleep. Soon enough, Jason starts going on a killing spree which angers Freddy and the two become embroiled in a feud that brings a huge body count. It’s a fun film that ventures on the wackier side and also serves up a variety of stereotypes in an ironic way such as the resident stoner and drunk partying teens. The film is the last to feature Englund as Krueger and stars Ken Kirzinger as Jason. It’s a shame they didn’t follow this up with a sequel as it would have been great to see what more they can do with this universe cursed with this villains. It’s not a great film by any means but it’s a fun popcorn flick. I think what makes this film so enjoyable to watch ishat it isn’t afraid to poke fun at itself and be completely bonkers.

A Nightmare on Elm Street (2010)

This is one of those rare films where I go against the grain a little bit. This film was (rightfully) torn apart by critics like one of Freddy’s victims despite its commercial success. It is equally hated by fans and despised so much that they didn’t even bother making any sequels for this reboot. It’s a rehash of the first film with newcomer Rooney Mara filling the boots for Nancy Thompson. The reason I go against the grain is that I am one of the few people who actually enjoyed this reboot. Don’t get me wrong, it doesn’t hold a candle besides the original at all but I thought it was an interesting take in bringing up the darker themes that couldn’t be discussed in the original, mainly Freddy’s paedophilic nature. I think Jackie Earle Healey is one of the most underrated actors working today and his performance is a darker take on Englund’s Krueger. I understand why his performance wasn’t well received because the humour and charisma is what differentiates Kruegar from other slasher villains. Also, Mara is one of my favourite actresses working today and this is the film that properly introduced me to her (aside from The Social Network but that was a small support role). I thought that the darker tone was an interesting aspect to explore but I do think ultimately the film suffers because of this and becomes just another horror film.

So that’s all of the reviews done and dusted. I am not sure if they’re going to create anymore, especially since Craven has since sadly passed, but it would be intriguing to see how they would reintroduce Freddy in this new revolutionary climate.

Here is my ranking:

1) A Nightmare on Elm Street (1984)

2) A Nightmare on Elm Street 3: Dream Warriors (1987)

3) A Nightmare on Elm Street 4: The Dream Master (1988)

4) A Nightmare on Elm Street 2: Freddy’s Revenge (1985)

5) Wes Craven’s New Nightmare (1994)

6) Freddy vs. Jason (2003)

7) A Nightmare on Elm Street 5: The Dream Child (1989)

8) A Nightmare on Elm Street (2010)

9) Freddy’s Dead: the Final Nightmare (1991)

What do you think? Which one is your favourite? Let me know in the comments below!

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Final Destination Ranking

The franchise that was one of my first introductions to the horror genre. The Final Destination franchise is almost a passage of rite for teens and have been massively popular since the first installment dropped in 2000. The basic set-up follows a teenage protagonist and their friends on some sort of adventure or activity when the protagonist suddenly has a tragic premonition that sees their demise. The protagonist then prevents them and their friends going through with the premonition only to discover that the group starts to die violently and mysteriously one by one.

With the news that the studios have sixth and seventh installments planned for release, it made me think back on the films that helped shape my love for horror and I thought it would be a nice idea to see where they would rank.

Here are my reviews for each installment:

Final Destination (2000)

The one that started the craze. We follow recent graduate, Alex Browning (Devon Sawa) who is venturing off to Paris with his classmates. He suddenly has a graphic premonition that sees the plane explode and every passenger diminishes. Alex freaks out and is escorted off the plane along with several of his classmates. Minutes after the plane takes off, it explodes and Alex finds himself under police investigation. It doesn’t end there however as the survivors start to die one by one in violently crazy ways as death seeks its revenge. The film brings something new to the table while also paying homage to previous franchises such as the welcome cameo by Tony Todd who works as a mortician. As the film goes on, the deaths become more and more elaborate compared to his friend Tod’s demise due to strangulation to his teacher’s death sequence which saw her computer explode, followed by a knife to the chest which was pushed in by a chair. We see Alex’s descent into madness as death becomes his nemesis and he escapes to a cabin in the woods with the help of his friend Clear (Ali Larter), who believed in him from the plane accident.

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Final Destination 2 (2003)

This is one of those rare franchises where the sequel is better than the original. The second installment takes the ideas from the first film and builds on them. The film follows Kimberly Corman (A. J. Cook) who has a premonition of a major road accident on a motorway that sees a huge body count. Like the previous film, she freaks out and saves herself and others only to discover that the survivors are being stalked by death. There are so many iconic sequences in this film and it’s pretty much every death. From teenager Timmy being squished by a falling window pane to the creepy ladder through eyes fiasco with young millionaire, Evan. This sequel turns up the ante and the body count. It’s gruesome and brilliant and the acting and writing is a big improvement on the first installment. It also incorporates a new theory on evading death where life can counteract death and eliminate the whole list which is an interesting twist. We also see Ali Larter return as Clear and Tony Todd reprising his cameo. I don’t care what anyone says, I have a soft spot for this film and I think the deaths are great and imaginative.

Final Destination 3 (2006)

The most famous and recognisable installment comes with the third film which features the incredible rollercoaster premonition. Starring Mary Elizabeth Winstead as Wendy in a role that would solidify her position as the 21st century “scream queen”, Final Destination 3 has an abundance of imaginative sequences that have long tortured the minds of teens alike namely the sunbed death which sees two girls trapped and burned alive by their sunbeds where the temperature has been mysteriously tampered with. If I had to rank individual performances from the whole franchise, I would probably say by Winstead is by far and large the best of the bunch. It’s a really involved performance filled with guilt and sadness. This performance is what thrusted Winstead into the spotlight where she has managed to grow into a star. It’s nice to see that happen in the modern day the same way horror made stars of  Jamie Lee Curtis (Halloween) and Patricia Arquette (A Nightmare on Elm Street 3: Dream Warriors). It also features great support performances from Kris Lemche and Alexz Johnson as goth couple Ian and Erin who aren’t fazed by the concept of being chased by death.

The Final Destination (2009)

By far the worst installment, The Final Destination is a film that underestimated its audience and provides a film that is neither fun or memorable. The premonition takes place at a race track where a tyre flies off a speeding car and hell breaks loose. They shot this with 3D in mind and it shows. The studio was more bothered about making sure random objects and body parts are flying at you so much that they forgot to include any creativity in the process. It’s not a franchise known for its deep characterisations (nor do we expect it to be) but none of the characters are particularly likeable and they are all one note. The death sequences are predictable and elongated with some lasting way longer than necessary (the organs in the swimming pool drain being a prime example) and it soon becomes a tedious experience to watch. In a totally bizarre twist, this installment is by far the highest grossing in the series so far so Thankfully, the studios veered away from this aspect in the fifth installment.

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Final Destination 5 (2011)

The fifth and latest installment of the franchise looks back to the original for inspiration and becomes more old school. After the critical failure of the fourth film, the studios reflected on what went wrong and made what is the “best” installment in the franchise. The script is actually tight and the characters are well-developed compared to the other films. The opening disaster is a road accident which sees a bridge collapse while a group of colleagues are on their way to a work retreat. It’s a simpler set-up than previous installments but the effects are brilliant and the deaths are just as gory. Like the fourth film, this was also released in 3D but it didn’t feel as though they were just catering for 3D and the use of it was interesting and minimal. It didn’t need the 3D to succeed but it did amplify the experience in the cinema. Following Sam Lawton (Nicholas D’Agosto) who has the premonition and the usual set-up of rescuing his friends. This installment has an array of theories and twists that are not overthought or complicated and works brilliantly as a franchise installment and also a standalone.

With all of this said and done, I am even more excited for the new installments to be released. I think that the Final Destination idea is really interesting and they’re great fun to watch. I’ll definitely be front and centre on release day with a box of popcorn in hand.

I think it’s a credit to the writers for the franchise that all but one of the sequels managed to surpass the original and even the film that is deemed the worst was the one that made the most at the box office. There is a huge audience for these films and it’s a shame that there’s been such a big gap between the last installment and now.

Here is my final ranking:

1) Final Destination 2 (2003)

2) Final Destination 5 (2011)

3) Final Destination 3 (2006)

4) Final Destination (2000)

5) The Final Destination (2009)

What do you think of the ranking? Do you agree or disagree? Let me know in the comments below!

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Top 5 Joaquin Phoenix Performances

Undoubtedly the man of the moment in the film that has the festival circuit buzzing, Joaquin Phoenix is the frontrunner for awards for his titular performance in Todd Phillips’ origin story Joker. During a film climate that seems dominated by superhero films, Joker seems like it is doing something entirely different by twisting the tone and idea of the superhero movie. It feels that after years of playing the underdog in Indie features and his reluctance to entertain the spotlight, the mainstream media has finally caught up. It feels only right that I compile a list of my top 5 performances although it’s very tricky to do so.

Here’s my top 5 in chronological order:

Gladiator (2000)

I never thought Gladiator would be in a top anything list. Truth be told, I find the film overwhelming overall but the one element of it I absolutely love is Joaquin Phoenix’s brilliant performance as the evil Commodus, the power hungry son of Marcus Aurelius who gives power to Maximus (Russell Crowe) until a new empire is formed. His lust for power knows no bounds as he murders his own father and has Maximus arrested. It’s Phoenix’s performance that brings the real depth to this film. He could have easily played this role as a cartoonish villain but instead brings a snakelike presence to the character. His strength comes from the power that others give him rather than strength that he has by himself which comes to fruition in the final fight scene with Maximus.

The Master (2012)

Undoubtedly my favourite Joaquin Phoenix performance, The Master follows ex-marine Freddie Quell (Joaquin Phoenix) as he becomes involved with a cult called The Cause, led by Lancaster Dodd (Philip Seymour Hoffman) and his wife, Peggy (Amy Adams). I won’t dwell too much on this film, mainly because I have written an extensive review for this film (which you can read here). Phoenix brings his A game to his performance and it truly is a career best. The scene where he initially undergoes “Processing” with Lancaster in which his darkest secrets and even darker past are revealed. It’s a brilliantly shot scene that brings together to titans of acting and should have won both Phoenix and Hoffman Academy Awards.

Her (2013)

Spike Jonze’s romantic Her shows a tender side to Phoenix in the role of Theodore Twombly, a depressed soon-to-be divorcé whose job is writing intimate letters for people who are too afraid to do so. He is so emotionally intense and yet detached at the same time as he begins a sexual relationship with his OS (voiced by Scarlett Johansson). Featuring a stellar cast that is rounded off by Amy Adams and Rooney Mara, this was one of the best films of 2013 and brought Spike Jonze a much-deserved Oscar for his screenplay. It’s a saddening portrayal of love and heartbreak in the 21st century. This is a film that easily could have fallen into ridiculous due to its eccentric plot but the sincerity that Phoenix brings to the role allows the audience to become truly invested in the plot.

Inherent Vice (2014)

Phoenix’s second collaboration with Paul Thomas Anderson brings renowned author Thomas Pynchon to the big screen in what is the only adaptation to date. Based on the drug-infused novel, Inherent Vice, we follow Doc Sportello, an alcoholic, drug-loving cop in 1969 as he tries to bring down a drug lord. It’s a hallucinogenic mesh of colour, music and Joanna Newsom who stars as a narrator only Doc can see. The film itself is hugely underrated, possibly due to the fact that it is too bizarre for a lot of people. Being a big fan of Pynchon, I was so excited to see how it would work adapting one of his books into film and it works perfectly. Phoenix is perfect casting and carries off Doc’s happy-go-lucky attitude with ease. He heads up a star-studded cast fantastically and commands the screen whenever he is on it. He brings the perfect amount of slapstick while also keeping the character’s dignity intact. It’s truly a brilliant film that I think is wrongly overlooked.

You Were Never Really Here (2017)

Lynne Ramsay’s gritty New York City based nightmare follows Phoenix as hitman, Joe, who lives and breathes violence and killing all while living with his elderly mother in his childhood home. He specialises in rescuing trafficked girls. He’s a character who’s backstory is stained with violence and abuse and there isn’t much else that he is capable of doing. He is quiet and alone but happy in his loneliness. When tasked with retrieving a Senator’s daughter from traffickers, Joe embarks on his hardest mission yet. The film is bloody and holds no punches. It’s brutal from beginning to end with devastating results. The direction and writing is super tight and brought both Phoenix and Ramsay prizes at Cannes Film Festival in a rare double win.

With the release of Joker, it seems that Phoenix is going to break into the mainstream and he’s the frontrunner come award season. It seems that these awards are long overdue. If it were up to me, he’d have a couple of oscars in his cabinet already but sadly that hasn’t been the case. I’d hope that those who are introduced to phoenix’s talents as the Joker watch him in other films and see his talents beyond that superhero universe.

I’ll be posting a review for Joker as soon as its released and I’m looking forward to seeing whether it would break into my top 5.

What do you think of my list? Do you agree or disagree? Let me know in the comments below!

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Child’s Play Ranking

The Child’s Play franchise is among the first horrors that I watched and introduced me to the world of horror films alongside the Final Destination films. Featuring a demonic doll called Chucky who is possessed by the spirit of murderer Charles Lee Ray (Brad Dourif) in all but the last films (the 2019 has a different set-up altogether), we see Chucky’s murderous attempts to become human again and what he will do in order to get there.

Created and directed by Don Mancini, the Child’s Play franchise are films that Mancini and Dourif are clearly passionate about. Even at their worst, the films are still entertaining and fun to watch. With the new remake/reboot out in cinemas featuring a new cast and production team and await\ning the 2020 TV show from Mancini with Brad Dourif back as the iconic voice of Chucky, I thought it would be a good idea to review and rank all of the released films from best to worst (including the 2019 film).

Without further ado, let’s begin:

Child’s Play (1988)

The franchise began in the late eighties in a decade that saw the creation of some of the most iconic slasher villains such as Freddie Kruegar and Jason Voorhees. Andy Barclay is a young boy gifted a Good Guy doll called Chucky for his sixth birthday. Murders suddenly begin occurring around Andy and his mum with Andy insisting that not only is his doll alive but he is possessed with the soul of a killer and is committing the murders. The audience views this film from the perspective of the adults as we don’t actually see Chucky come to life until halfway through the film when Andy’s mum threatens to burn the doll. The franchise has come to be ridiculed for its over the top humour but the first installment is actually underrated. The script is fantastic and well paced with Brad Dourif’s performance being the clear standout. He manages to makes Chucky truly terrifying without veering it into ridiculous territory.

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Child’s Play 2 (1990)

The first sequel to the original takes place soon after where we left off with Andy’s mum being placed in a psychiatric ward and Andy is now in foster care with Joanne and Phil along with fellow foster child, Kyle, a rebellious teen who sneaks out on dates and smokes. Chucky is remade at the Good Guy factory but escapes in a quest to find Andy so he can “hide the soul” become human again. It’s a strong sequel that follows the exact same precedent as the original but that’s not always a bad thing. Brad Dourif provides a charismatic performance as ever as the evil doll and Alex Vincent delivers another great performance. The film contains some of my favourite highlights of the entire franchise such as the school scene in which Andy’s overly strict teacher meets her demise at the hands of a ruler. It also features the word “microchip” being used as an insult which I think is absolutely fantastic.

Child’s Play 3 (1991)

Fast forward right years in time and 16 year-old sent to military school after he struggles to find a suitable foster home. Replacing Alex Vincent as Andy is Justin Whalin who does a good job with what he’s given. The story isn’t as strong as its predecessors due to its attempts to tone down the humour and increase the violence, earning the franchise its first 18 rated certificate. When there is humour, it doesn’t quite land as the film takes itself too seriously to be tongue in cheek like the previous installments. This isn’t to say it’s a terrible film, there are some highlight scenes in there. One example is when the students play a huge game of paintball to practice their shooting skills and Chucky has replaced the paint with live bullets unknown to the students or officers. It also features one of the best endings in the entire franchise, taking place in a haunted house ride at a travelling carnival.

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Bride of Chucky (1998)

After the negative reception to the third film, the writers decided to put an emphasis on the humour that audiences had come to love about Chucky. Introducing Jennifer Tilly to the franchise as Tiffany, Chucky’s lover when he was human, who is obsessed with the stories relating to the Chucky doll. She manages to get ahold of the doll and fixes him back up, giving him what will be his recognisable scars. Imprisoning Chucky when he comes back to life, Tiffany is killed and turned into a doll and the two aim to find a pair of humans to transfer their souls into. Watching this film after the first three is a shock because tonally, it is so different but it is an entertaining film that isn’t afraid to parody itself (cue all the slasher horror references at the start of the film). It’s definitely on the weaker end of the franchise but I do find it enjoyable to watch and it is a different kind of horror than what we are used to seeing.

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Seed of Chucky (2004)

Despite the mixed reviews for Bride of Chucky, Mancini decided to push the envelope further when creating the following film, Seed of Chucky. Following the offspring of Tiffany and Chucky, Glen/Glenda travels to Hollywood to visit the set of a film based on his/her parents. It’s less violent and more camp, taking inspiration from the flamboyant horror B movies like Glen/Glenda. It’s become a modern cult film among fans and is undoubtedly the worst film in the franchise but it is fun to watch because it is so ridiculous. It also features cameos from the likes of S Club 7’s Hannah Spearritt with Billy Boyd providing the voice for Glen/Glenda. It’s a film that pokes too much fun at itself and becomes a product that goes beyond satire. It’s good fun for the audience to watch but in a “so bad it’s good” way.

Curse of Chucky (2013)

Nearly a decade on from the last film and Mancini decides to give the franchise a complete do-over. Mancini takes away the humour and brings in a new backstory. Nica (played Fiona Dourif, Brad Dourif’s daughter) is a paraplegic who has recently moved into a decrepit house with her mother. One day, Nica receives a Good Guy in the post. As ever, the doll is alive and sets on killing every person in the house bringing some extremely gory results. The film is fantastic as a standalone but also as an installment and is a welcome return to the franchise that audiences loved from the beginning. It features one of the most intense dinner scenes in any film I have seen. I think that releasing it as straight-to-DVD was a smart move as the film pleasantly surprised audiences as there weren’t high expectations for it. Much like the original 1988 film, Curse is a slow burner and we don’t see Chucky in action until later on in the film.

Cult of Chucky (2017)

Following on from the critical success of Curse of Chucky, Cult of Chucky follows Nica who has been committed to a psych ward where she is recovering. Using the same solution as the original films, Chucky tries to “hide the soul” in Nica’s body. Both Dourifs give knockout performances. The standout scenes in this film are the ones where they are able to bounce off each other. This film was made on a tiny budget compared to the other installments but it doesn’t feel like it. Like Curse, Cult is filmed primarily in one location meaning that more money can be used on the special effects. It’s a film that never lets the audience relax. There are few breathing moments as Chucky casts down terror on the patients in the ward. It’s a claustrophobic film that has you feeling trapped like the patients.

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Child’s Play (2019)

Bringing in an entirely new team for this remake/reboot was always going to be interesting to watch. The first to be made without Don Mancini’s input, 2019’s Child’s Play puts the 1988 film into a 21st century context. You can read my full review for the new installment here.

So that’s 31 years of horror in one post! It’s amazing to see how the plots change with the times and how these films strive to follow trends that are seen in horrors specifically in the context of their release beginning with the slashers of the 80s, the comedies of the late 90s/early 00s and the darker, gorier inclusions in the 2010s.

Here is the ranking:

1) Child’s Play (1988)

2) Child’s Play 2 (1990)

3) Curse of Chucky (2013)

4) Cult of Chucky (2014)

5) Child’s Play (2019)

6) Child’s Play 3 (1991)

7) Bride of Chucky (1998)

8) Seed of Chucky (2004)

What did you think? What is your favourite Child’s Play film? Let me know in the comments below!

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Child’s Play (2019)

This was a bittersweet film to watch. As an avid fan of the Child’s Play franchise, it’s been interesting to see how it has evolved over the years from the generic horror slasher in the first three films to experimental (and not always successful) horror comedy in the next two films to a reboot of two films starring Brad Dourif’s daughter, Fiona Dourif, as a paraplegic who’s life is torn to shreds in extra gory installments. Now forward to 2019 and we see Orion Pictures going ahead with a reboot unapproved by the film’s creator, Don Mancini, which further caused Brad Dourif to drop out from the iconic role to star in Mancini’s upcoming Child’s Play TV show. Instead we are given Mark Hamill as the voice of Chucky which was always going to be a great choice as Hamill is a fantastic voice actor (the Joker in the Batman TV series and Sunsnatcher in Brigsby Bear are personal highlights).

Giving the film a clean slate and a new backstory, this 2019 reboot brings Chucky into the 21st century. When a Vietnamese factiry worker is cruelly given the boot, he programs the Buddi doll he is building to have no inhibitions and no violence indiciators, meaning that the doll will be capable of anything. This doll finds it way into the life of Andy (Gabriel Bateman), a teenager who has just moved into a new city with his mum (played by Aubrey Plaza). The name is changed from Good Guy to Buddi (with a wifi signal above the i) and the doll can connect wirelessly to other devices in the house such a televisions, music players and the lights. There is a way to track the doll itself through an app on a phone. This remake could have easily been illogical and cheesy but the updates feel relevant for the time period with Andy, even referring to the older model he is gifted with as a “little kid’s toy”.

There is a lot to like about this film. An interesting aspect that makes it stand out is that Chucky genuinely wants to make Andy happy but he goes about this in a violent manner and misinterprets what Andy wants. On scene in particular that stands out is when Chucky observes as Andy and his new friends watch The Texas Chainsaw Massacre 2. The teens laugh as the characters in the film are killed and torn to shreds, making Chucky believe that Andy wants this to happen in real life and tries to kill one of his friends. The film spends its first act building the characters of Andy and Chucky and the killing spree that follows doesn’t feel forced.

I’d be interested to see if they make a sequel from this one because it was enjoyable to watch and was a good combination of horror and comedy. Hamill’s performance was brilliant as ever and Aubrey Plaza is great in her role as Karen. Karen is clearly broken by the situation of having to move and poor financial circumstance but she tries to keep it together for sake of her son. Plaza isn’t in the film as much as I would have liked but maybe they’ll cast her in a sequel.

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Women’s Voice In Film

Women in film has become a huge talking point for film development in recent years, partially due to the #metoo movement that outed the abusive patriarchy in film seeing women given less power both in representation and finance. A lot of discussion on the internet (from men mostly) questioning whether there truly is a problem in the first place, do the women deserve the harassment they face and most importantly, do we really need these gender swap remakes? The answers to these questions are simply: yes there is a problem, no a woman never deserves harassment and of course we need as much female representation as possible.

It’s not secret that the days of Golden Hollywood, although seemingly flawless and iconic, foresaw the way women in film were treated by their bosses (producers and directors). From the infamous “casting couch” to the manipulative studio contracts, Hollywood presented itself as a mecca of dreams but proved to be a breaking point of mental illness, drug and alcohol misuse and domestic abuse. This period sees the breakdown of many stars including Judy Garland, Marilyn Monroe and Bette Davis just to name a few. It seemed that solace could only be found at the bottom of a whiskey glass.

So what does this issue have to do with Hollywood today?

Well, to begin with, despite the elimination of studio contracts in the 50s due to the collapse of the Hollywood studio structure, it appears that female filmmaking is still viewed as a niche rather than as an equal offering. The fact that we even discuss a film as “female” or celebrate female creators and strong female characters shouldn’t be something we celebrate in the 21st century. Especially considering that we’re at a century of accessible filmmaking that has distributed across the globe. AFter everything that has happened globally regarding women’s issues such as voting rights, reproductive rights, fighting the wage gap, it’s unsurprising that the fight for the female experience through a woman’s perspective has been equally difficult. After all, film is a brilliant and affordable medium to translate issues to a global audience using visuals to gain awareness for issues. Take last year’s Oscar-winning short documentary Period. End of Sentence. that looks at female poverty in India where women are forced to quit school due to periods as they are unablt to afford sanitary products. In terms of fictional feature films, we have seen a resurgence of female driven comedies with Bridesmaids accredited with starting this trend. Other offerings in recent years have reverted back to teenage years with 2019’s Booksmart and 2017’s Lady Bird among the big fish. it’s great to see original stories created by women being given mainstream releases and have subsequently done well in the awards circuit. As well as comedies, we have also seen female-centred dramas such as Todd Haynes’ beautiful and iconic LGBT love story Carol (you can read my review here) starring Cate Blanchett and Rooney Mara, which I would argue is the best love film of the century so far. Now these Indie films do incredibly well, but why hasn’t this translated as well into mainstream films? I’ll try to break this down.

It’s known that the majority of people who will go and see an original story created and performed by women is going to be seen by women. That’s all well and good but considering that men are the majority of the cinematic audience statistically, it’s important to get men to see films created and performed by women too. This is for a number of reasons and since the film industry is a business, the most important issue is money. If more men see the films then more money is given to the filmmakers and then more films created by women can be made which would eventually make the idea of the “female film” as old and traditional as the Golden Age of Hollywood. This brings me to the gender swap remakes. If you looked at the highest grossing films in recent years, chances are that they are filled with sequels, reboots, prequels and remakes. Using this information, it is a smart idea that in order to bring a female perspective to a high-grossing film, you must incorporate strong female roles into these films. However, this hasn’t been without a share of complaints from a small portion of the male audience. Take the Marvel and DC Universes for example. Admittedly, I am not a huge fan of the Marvel Universe but I have never heard such negativity from a male audience regarding it’s iconic female characters before. It seems that every other film is released with no issue, Marvel films particularly tend to sell out every initial screening and exceed in both critic and audience circles so when they decided to do a film dedicated to Captain Marvel, this should have been a celebration for a strong female character to join the achievements of its predecessors; however, this sadly wasn’t the case. A portion of the male audience was outraged by Brie Larson’s interpretation of the role as well as her feminist statements. It’s all well and good when the male superheros want to prove their stereotyped masculinity (which is an old school trope that Marvel appear to be fighting as well by bringing vulnerability into the male characters) but when Captain Marvel doesn’t need a man to save the world and more importantly, doesn’t want a man with her to save the world, this is a major issue. It was a role that should have been celebrated but instead, while Endgame was adored for bringing its emotion to the male characters (Iron Man specifically), Captain Marvel is viewed in a negative light because she veers away from the traditional “eye-candy” trope that Golden Hollywood has been feeding the audience with for years. I hope that as these franchises expand and more female characters are incorporated into their respected universes, the male audience that openly despises the likes of Captain Marvel and Wonder Woman may be open to the idea of the strong, independent women without thinking of them as simple love interests or sidekicks rather than the leaders of their own stories. Despite this small male audience who tweet outrageously about the femalecentred films, DC is clearly proud of the overwhelming success of Wonder Woman as they are bringing Patty Jenkins back for the second film (I did actually enjoy Wonder Woman! The first segment featuring the Amazonians is astonishing direction and writing).

I am not writing this article to be negative or bash the male audience because the male audience is important to the plight of female filmmaking as well and it is only a small portion. I think that there has to be an understanding that it is much harder for a woman to get a film made than a man. Once that statement is understood and acknowledged then the discussion of female film becomes a welcome idea and celebrated. But in a world where the Indie films created by women are renowned for their originality, why do we need gender swapped films such as Ghostbusters? Do we actually need them?

As I said at the top of this article… yes, yes we do!

Why do we need them? By remaking films with gender swapped protagonists, it gives the audience a new perspective on a femiliar setting. It’s easy to be angered when a classic like Ghostbusters is given an update with the best female comedians much like the original with men. It’s a brilliant film by itself (it obviously isn’t as good as the original) but I don’t think the intention was to “outdo” the original. I think it was to show that women could be given an ordinary role without the woman part being of any importance. I think that if Ghostbusters was remade with a male cast, there would be the usual complaints of “we don’t need a remake” but the abuse hurled at the stars of the film showed that there is sexist view from this portion of male audience. It seems to not only be that women have “taken” the roles, but that women are put in powerful positions without being the love interest. There is also an argument that representation is important and when given the opportunity to make these remakes, it’s another opportunity to put women in the driving seat which is only a positive.

Some of the films I love such as Eternal Sunshine of the Spotless Mind and Frances Ha feature brilliant female characters. Clementine Kruczynski (played fantastically by Kate Winslet) in the former and Greta Gerwig as the quirky titular character in the latter are women who have their flaws and struggles but at the end of the day, are independent and strong. Both films directed by men but show the important of strong female presence in film. Eternal Sunshine’s script won the Best Original Screenplay Academy Award suggesting that there is a demand for these female characters. Another film that is a force of nature is 2016’s Turkish offering, Mustang, about five young sisters who are forced into marriage after wrongly being accused of sexual activity with a group of boys in their class at school. Written and directed by Deniz Gamze Erguven in her directorial debut, Mustang is one of the best films I have ever seen. The film is shown through the eyes of the youngest sister, Lale, giving the audience an innocent glimpse into an oppressive world without explicitly saying so. Much like the message of the film, the writing and directing is subtle with a lot of stillness and peace in moments of chaos. Another brilliant female-led offering is 2018’s The Favourite which was hugely snubbed in the Oscars this year and has not one, not two but THREE stellar leads in the form of Olivia Colman as Queen Anne (who deservedly won an Oscar for her performance) and Rachel Weisz and Emma Stone as the women vying for the queen’s attention. It’s a complex triangle of lust, power and manipulation. This answers the question whether women can carry a film with a resounding YES!

At the end of it all, more needs to be done to finance and distribute mainstream films created by and starring women but this isn’t to say that none exist at all and the offerings we have had in recent years particularly show a huge improvement to the films of the Golden Era. Women have proven time and time again that they can create films that are both critical and commercial (when given the chance) successes.

What are your favourite films created by and/or starring women? Let me know in the comments below?