HE SAID, "LIFE'S A BITCH... THEN YOU DIE SCREAMING LIKE A STUCK PIG"

Before I get into my two cents on CURSE OF CHUCKY, an anecdote. There was a great quote in the film, one which I have used as the title of this piece, but I could not remember the exact wording. Naturally, I Bing'd quotes from the film, knowing it involved a stuck pig. I find my query and prepare to write this when my fiance (who is face deep in her phone looking up wedding ideas) turns to me with a bewildered look on her face asking, "Did you just hear that?" Oddly, no music was playing and I said no, what should I have heard. She responds with a, "Well, it sounded like a squealing pig...". There's little need of me to describe what was going through my mind, nor describe the giddy and frightened conversation that followed. It's no secret that we live in a "touched" home, nor that either of us are particularly receptive to "off-kilter" occurrences, but the situation solidified my decision to write about CURSE OF CHUCKY over BASKETCASE. Anyway...

CURSE OF CHUCKY is, by far, the best entry in the CHILD'S PLAY franchise since the first. That isn't to say it doesn't have it's fair share of short-comings, but overall it is both engaging and refreshing, especially in this age of "suckling" films... you know, the ones who continually milk an idea to death. From the start, you get the sense that Don Mancini is attempting to reboot the franchise, and I feel he has done a successful job in doing so. Visually, CURSE is engaging and unique in both the atmosphere present as well as the artful shots used. Lot's of films have defining shots, and some films have many cobbled together (albeit, cheaply), but CURSE succeeds in taming pivotal and creative shots to not just give the viewer something new to experience, but also to integrate said shots into the story telling experience it's self. The filming it's self is definitely one of the film's strongest points and, I would argue, is grounds enough to watch this film.

CURSE OF CHUCKY tells the tale of a quadriplegic shut in who lives with her mother, only to have her world turned upside down when a mysterious package, containing an equally mysterious doll, is delivered one day. The "unexpected" passing of Nica's (Fiona Dourif) mother brings her sister, her husband, their daughter Alice, Alice's nanny, and a pastor to the house in mourning. As one can expect, death and destruction are soon to follow. CURSE plays more like a gaillo than a standard slasher as the murders themselves aren't what drives the plot, but rather the murderer and how it all comes to pass. Unlike previous films where we know who Chucky is and why he is doing what he does, CURSE leaves you questioning how it ties in with what we already know. This is probably one of the strongest points of the film.

The Chucky doll, it's self, is another great aspect of the film. Certain shots really creeped me out (THOSE EYSE!!!), more so than I have felt toward a Chucky film since the first. The doll has been redesigned and looks as real as ever, and undergoes a transformation in the second act to show that this is not only a reboot of the franchise, but is also a continuation to the already existing lore. That lore is brought (quite literally) full circle by the end of the film and actually explains a question so often forgotten: why was Charles Lee Ray on the run from the law to begin with at the onset of CHILD'S PLAY? CURSE is more like a dedicated sequel as opposed to a generic use of a familiar concept, which is more than the last few films could provide.

Having shared such praise, it shouldn't go without saying that CURSE OF CHUCKY is certainly a flawed film. Mancini's iconic humor is ever present although sometimes it works against the film in that it takes a decidedly darker take on the Chucky mythos and cheapens it. The plot it's self is a bit confusing at first, and doesn't become cohesive until late in the film... and even then, is muddled by more contrived twists at the end (see spoilers below the trailer).

The acting, as can be expected, is (and yet, isn't) what you would expect from the franchise rebooted. Brad Dourif (one of my all time favorite character actors) returns as Chucky/Charles Lee Ray, while the lead is none other than Brad's daughter, Fiona Dourif. Fiona is definitely one of the strongest aspects of CURSE OF CHUCKY. She is an excellent actress and I can only hope she continues her craft in the genre. Unfortunately, no one else is really up to par. Tongue in cheek acting is delivered in gut loads and much like Mancini's humor, brings the overall feel of the film to comparison to the less enjoyable entries. These aspects confuse the senses because you can tell from the onset that CURSE is a rather dark film.

Over all, CURSE OF CHUCKY is worth watching. Multiple occasions had my fiance and I both openly laughing... and cringing... throughout. Some small things don't make sense, but I'm willing to over look them because what is good about CURSE is, well, really fucking good. CURSE is direct to video so you should be able to find it anywhere this Halloween season, but if you are a shut in, it can be found here. If you wish to read my spoiler heavy thoughts on the end aspects of the film, continue below the video!

***SPOILER ALERT***

My biggest qualm about CURSE OF CHUCKY is the ending. Certainly not the ending proper, but the obligatory post ending ending... and it's post ending... then the post credits ending. Yes, CURSE OF CHUCKY has FOUR endings. The first ties up the film you just saw. Ok, good. Yes, a final twist before the fade to black. Ok, here comes the first post ending, which brings the Tiffany/Jennifer Tilly character back as she retrieves Chucky. This ending is two fold, as it then shows Tiffany shipping a package (with Chucky inside) via mail. The next ending has Alice (the little girl from CURSE) coming home to her grandmother's house to find an opened package and Chucky. He asks her to play a game of "hide the soul" and as the camera pans away, Alice's grandmother pops up on screen with a plastic bag around her head. 

Now, presumably, grandma stops Chucky from finishing his rite, because the post credits scene then shows an adult Andy receiving a birthday gift. With his back turned while on the phone, Chucky escapes the box and prepares to kill Andy, only to turn around and come face to face with a shotgun. If this was an attempt to reboot the series (as Mancini has claimed), this ending sort of muddles that idea... plus, what happened with Alice? Why wasn't Chucky able to "hide the soul"? Here's hoping the next film will answer these questions. For me, these fun endings sort of ruined the whole film.

APPETITE FOR DESTRUCTION

Logically, CRITTERS makes little to no sense. Don't get me wrong, I love the film. It's a sound classic that was franchised to death, but is still a rather enjoyable movie. "Gremlins for adults", if I had to put a quote on it.* What irks me about CRITTERS is that it should have been a short film, and by short I mean 3 minutes in length.

Did I loose you yet?

CRITTERS brings to mind some awesome memories. Shape shifting bounty hunters, spiky ball beasts with a taste for whatever they can sink their teeth into, quirky characters, Chiodo brothers magic... but the one thing everyone seems to forget is the fact that the Krites were originally intergalactic criminals, not just some movie creature. Picture the first few scenes of the film: a transport is bringing the Krites to a prison asteroid where they commandeer said transport, somehow evade all laser cannons by flying RIGHT IN THEIR LINE OF FIRE, then rocket off toward Earth. If this film made any sense at all, they would have been blown away and the movie would have ended.

Another important plot point that is extremely irking is the existence of the bounty hunters. I mean, let's be honest here... MAXIMUM SECURITY PRISON ASTEROID, with no guards. In their place, bounty hunters. This doesn't seem very cost effective, but then again, maybe I'm thinking too much about plot and not enough about concept. And speaking of bounty hunters, who would have imagined that Terrance Mann would later go on to voice The Beast in Disney's BEAUTY AND THE BEAST. From Ug to Beast, that man surely made a great leap in his career.

Anyway, I have always been partial to CRITTERS 4, mainly because it was horrible and in space... much like HELLRAISER 4, LEPRECHAUN 4, and JAWS: THE REVENGE (whose "space" is that which had been wasted on a) celluloid, b) rental shelves, and c) my memory). CRITTERS 2 is definitely my favorite, with three being one of those films who followed the trend of sequels which take place in an apartment building (see: POLTERGEIST III and GREMLINS 2). Needless to say, the CRITTERS franchise is bound to have a film that will appeal to your "tastes".

CRITTERS and it's kin can be found on home video and in various collections. It shouldn't be too hard to find in retail stores come the Halloween season, and (of course) you could always check it out here as well.

* I know, I know... GREMLINS is the Gremlins for adults, but you get my point.

...HIS ENEMIES ARE MOSTLY DEAD, HE'S MEAN AND UNFORGIVING...

PUMPKINHEAD is, without a doubt, the perfect horror film. It is a celebration of the genre simply by existing while, simultaneously, setting par for all films in it's class. I may even go as far as to say that there should have been no failed horror films made post PUMPKINHEAD, but I think you understand my level of praise by this point... and said praise has been honestly earned.

 The formula we see meticulously derived and executed is as classic as the film it's self; one of the most respected special effects masters in the field decides he wants to write and direct his own film, and uses it as a means to showcase his ability honestly. Notice how I did NOT say that one of the most respected special effects masters in the field decides he wants to write and direct his own film TO showcase his ability honestly. That, friends, is the difference between PUMPKINHEAD and similar efforts. Story is first and forefront, with Stan Winston's career talent augmenting said story in order to create an extremely well executed film. 

The classic devices are all present: flashbacks to show the subject of the film isn't just some random event, proper character motivation (i.e. everyone has motives, and these motives are present in the character without having to spell them out), supernatural elements being presented with respect (as opposed to using that theme as a cop out to allow the carnage to flow), and a full story with defined beginning, middle, and end. 

Oh, and Lance Henrickson... the most important classic device of all.

For the uninitiated, PUMPKINHEAD spins a revenge tale with a supernatural twist. Ed Harley (portrayed by Lance Henrickson) is a back woods grocer. When a group of young city folk accidentally kill his son, Ed sets out to find Haggis, a witch in the (even more backwoods) mountains to bring his son back. She explains that it is beyond her power however, if he asks for it, she can help Ed summon a demon of vengeance to right where he had been wronged... for a far greater price than any amount of precious metals Ed could supply her. 

And so Ed Harley searches out a long forgotten pumpkin patch graveyard, where the mountain types bury their "touched" kin. He digs up and brings one such corpse to Haggis who (using Ed's blood) instills new life into it's husk and thus, Pumpkinhead is born. The beast goes on a rampage of destruction as the reality of what Ed has done finally hits home, and he sets out to right his own wrong, knowing no sense of vengeance will return his boy to him.

One of the strongest points in PUMPKINHEAD isn't even what is told, but what you are left to infer. Haggis makes mention to the "ultimate price" throughout her encounters with Ed, leaving one to assuming she is hinting at a damned soul. The unspoken revelation at the end, however, proves her toll to be worse than that as Pumpkinhead begins to look more human while Ed absorbs features of the beast. To me, this concept is the true story held within the film. The revenge motif is too obvious and, personally, I believe is the gimmick that allows the idea of "releasing the monster makes one the monster" really shine. It's not the area of a cloud that makes it beautiful, no... the white of the cloud exists only to allow you to appreciate the silver lining. 

Unfortunately, as with most genre films of the 80s, the original idea behind PUMPKINHEAD has been regurgitated in three sub-par sequels, an obscure computer game, and (today) is left only as a pleasing afterthought in the memories of horror fans. To me, this film is as classic as THE NIGHTMARE ON ELM STREET, HALLOWEEN, CHILD'S PLAY, and EVIL DEAD. It's the unsung hero of an era when really good ideas actually made it to the theatres, rather than the derivative fodder we call "blockbusters" today. 

Where to find PUMPKINHEAD? Halloween is upon us but if this year is like past years, good luck finding it through your normal retail avenues. PUMPKINHEAD exists as a VHS release, as well as multiple dvd versions (with none more superior than the other), both of which you can find on the internet relatively cheap. Not one for the collection, but something you wish to see? You could always check it out here.