Look out, Buzz. There’s another good toy movie out

Chucky, left, and Gabriel Bateman in a scene from "Child's Play." Eric Milner/Orion via AP

NEW YORK: There are three movies in cinemas these days that feature iconic anthropomorphic dolls. Be very careful which one you choose.“Toy Story 4” has the usual gang of lovable toys led by Woody and Buzz. (Bring tissues.) Then there’s the remake of “Child’s Play,” which has Chucky, the freckle-faced homicidal doll who likes stabbing things. (Bring a strong stomach.)

The reviews for “Toy Story 4” are pretty good and the “Child’s Play” reboot is actually pretty solid, too. It’s a winking, self-aware horror movie that will make you laugh even when things are drenched in blood.

The original “Child’s Play” came out in 1988 and featured the nightmare-creating concept of your dolls coming to life and harming you.

It was a fairly straight-ahead horror flick with a dash of commentary on consumerism. But the franchise - six sequels - gradually grew camp, most recently with “Cult of Chucky” in 2017.

This summer’s reboot has sidestepped Chuck’s real dad - writer-director Don Mancini - and freshened the concept for 2019.

Chucky is no longer possessed. Now he’s a cloud-connected, self-learning artificial intelligence doll with wide powers. He controls the lights, TVs, Roomba, cars and other electronic devices. Underneath the gleeful horror is a commentary on our dependence on and the interconnectivity of our devices.

Director Lars Klevberg and screenwriter Tyler Burton Smith don’t pretend the killer doll trope hasn’t been done before.

They fully dive into it, gently mocking the genre as they exploit it and signal to the audience all along what they’re doing.

“You’re my best friend,” Chucky says when he’s taken out of the box.

Naturally his new owner says, “It’s kind of creepy.”

This time, Chucky is created by the nefarious Kaslan Corporation, which has a range of interconnected products. In a fit of pique, a sweatshop worker in Vietnam tasked with assembling the dolls disconnects one of its security protocols.

It ends up in the hands of a single mother (Aubrey Plaza) and her lonely son, Andy (Gabriel Bateman). Chucky tries to understand human behavior but stumbles at subtlety.

He’s imprinted to Andy and lashes out at anything that Andy dislikes, whether that’s the family cat or his mom’s new boyfriend.

The filmmakers have left little Easter eggs throughout the film, from references to “The Texas Chain Saw Massacre” to “Office Space.” They have a jokey tendency to use old-school lightning whenever they want to signal something ominous is happening.

The final climactic fight scene happens in a dark basement sporting industrial spinning fans with light and smoke pouring out of them. At one point, there’s a “Star Wars” joke that’s especially funny because Mark Hamill voices Chucky.

There’s so much tongue-in-cheek humor that even though the body count mounts - and some in the audience may be surprised that death comes to animals and beloved figures alike - there’s really no dread. Somehow, despite “Silence of the Lambs”-level carnage, the gore level doesn’t shock, inoculated as we are by being in on the joke.

Riffing off that, composer Bear McCreary leans in on “Omen”-like, ever-building horror music.

The film’s tautness comes and goes, never really building to edge-of-your-seat stuff. It could have had more glee messing with our love of digital convenience but it takes care of fans of the franchise.

The doll comes up with the name Chucky for itself, even though plenty of other options are available. It’s owning its past.

Plaza, known for her comedic chops on “Parks and Recreation,” shows off a winning dramatic side, while Bateman proves to be an actor to watch, able to play alienated teen, surrogate brother, aghast victim and vengeful son.

Brian Tyree Henry once again makes the most of his small role as a kindly cop. Hamill goes to his creepiest place to say things like, “Are we having fun now?”

Surprisingly, we are having fun. While most of the oxygen will be taken up with “Toy Story 4,” credit goes to “Child’s Play” for turning in a solid valentine to the darker side of what “Toy Story” also does - including movie posters that drag the bigger franchise.

“Child’s Play” is screening in Beirut-area theaters.

A version of this article appeared in the print edition of The Daily Star on July 01, 2019, on page 12.




Your feedback is important to us!

We invite all our readers to share with us their views and comments about this article.

Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.

Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (

comments powered by Disqus



Interested in knowing more about this story?

Click here