Tag Archives: Horror Sequel

Puppet Master III Toulon’s Revenge Takes the Straight-to-Video Series Down the Prequel Route

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Like the Children of the Corn and Leprechaun movies, the Puppet Master franchise has quietly chugged along on the straight-to-video market for about 30 years. Since the first Puppet Master released in 1989 there’s been a total of 14 sequels and/or reboots. In fact, just last year, the latest spin-off movie, Puppet Master: Doktor Death, found its way onto VOD platforms. Admittedly, the Puppet Master series has a narrow appeal just based on its subject-matter and style. And it’s hard really picking out an objectively good entry once the series stretched out onto the video market. But early 90s prequel, Puppet Master III Toulon’s Revenge is surprisingly decent.

Synopsis

In 1941 World War II Berlin, the Nazis have tasked German scientist Dr. Hess with finding a way to re-animate dead soldiers to fill their ranks. When his experiments fail to produce results, Hess’ superior, Major Krauss, takes notice of local puppeteer Andre Toulon. His puppets look lifelike for a reason – Toulon has discovered a formula that gives them life. But when Nazi soldiers arrest Toulon, they inadvertently kill the puppeteer’s wife. After Toulon escapes with his puppets, he vows revenge against Krauss and his soldiers.

Puppet Master III Toulon’s Revenge Substitutes Puppet Action for Actual Scares

On most objective measures of film quality, Puppet Master III Toulon’s Revenge isn’t going to score high with critics. In fact, this early 90s horror prequel absolutely epitomizes the straight-to-video movie from the era. Whether it’s the dull picture quality and saturated colors or the lack of urgency in story-telling, journeyman director David DeCoteau competently executes a screenplay credited to three writers. Franchise fans have pointed out that Puppet Master III Toulon’s Revenge introduces some timeline problems previously established in Puppet Master. Cleary, someone didn’t do their homework. Arguably, however, the ‘Lazy Sunday’ stroll toward the climax presents a bigger problem.

What matters most to anyone invested in third entry of a low-budget horror series about killer puppets should be the puppets themselves.

While DeCoteau does a decent job moving things forward, Puppet Master III Toulon’s Revenge is neither scary nor suspenseful. Not much happens that should be shocking to anyone, not even diehard series fans. What matters most to anyone invested in third entry of a low-budget horror series about killer puppets should be the puppets themselves. In this regard, Toulon’s Revenge is pretty satisfying stuff with Six Shooter and Tunneler repeatedly stealing the show. Whether it’s silly stuff or not, one can’t deny that there’s plenty of fun to be had watching these animated mini-killers wreak havoc on despicable Nazis.

Puppet Master III Toulon’s Revenge Finds a Bit of Human Drama Amidst Puppet Action

Not surprisingly, it’s the animated puppets who are the big draws in Puppet Master III Toulon’s Revenge. Series fans likely have their favorite puppets and a prequel offers the chance to see one or two character origins. Though it’s a 90s straight-to-video horror movie, the puppets largely look pretty impressive. That is, the effect impress for what’s obviously a 30-year-old, low budget movie. In this prequel, Six Shooter and the Tunneler get the best spots. Both The Leech Woman and Blade get origins in Toulon’s Revenge. And fans of Blade will likely figure out his human lifeforce source fairly early.

Though it’s a 90s straight-to-video horror movie, the puppets largely look pretty impressive. That is, the effect impress for what’s obviously a 30-year-old, low budget movie.

Yes, human actors actually play living and breathing characters in this Puppet Master prequel. After the character resided in the background for the first two movies, Guy Rolfe brings Andre Toulon to life, transforming him into a sympathetic character. Don’t expect much emotional depth – this is a straight-to-video movie about animated killer puppets. But Rolfe – who previously starred in another killer dolls movie, Dolls – at least gives you someone with whom to sympathize. Veteran character actor and perennial villain Richard Lynch (Rob Zombie’s Halloween, The Sword and the Sorcerer) makes for a credible evil Nazi. And Seinfeld fans will recognize Ian Abercombie, playing Nazi scientist Dr. Hess, who would eventually go on to play Mr. Pitt.

Puppet Master III Toulon’s Revenge a Better-Than-Expected Entry to the B-Level Series

Puppet Master III Toulon’s Revenge is a quintessential early 90s, straight-to-video horror movie. Dull picture quality, languid pacing, veteran character actors – this is vintage 90s video horror. And for a third entry into a B-level franchise – and a prequel on top of it – this one’s surprisingly good. No, it’s not likely to turn casual fans onto the Puppet Master series. Younger horror fans probably wouldn’t be impressed. Still the practical visual effects are better than they have any right to be. In addition, the puppets themselves make for admittedly compelling characters so it is fun for series fans to see some of their origins.

Scream VI Proves That Moving To The Big Apple Isn’t a Franchise Killer

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Few horror franchises – or any franchise for that matter – can produce quality outings the further along they go. Both Friday the 13th and A Nightmare on Elm Street were running on fumes past their fourth outings with the exception of the occasional course correction. When Wes Craven resurrected his Scream series with Scream IV, the results were mixed though that sequel has aged quite well. But last year Matt Bettinelli-Olpin and Tyler Gillett (Ready or Not, V/H/S) blew away even the most optimistic of expectations with their belated re-quel, Scream. Not surprisingly, the success of that sequel saw a follow-up green-lit. And it looks like Bettinelli-Olpin and Gillett have scored again with Scream VI.

Synopsis

One year has passed since the Woodsboro Legacy Murders. Sisters Sam and Tara Carpenter have re-located to New York City along with the twins, Mindy and Chad. While Tara loses herself in frat parties and college life, Sam struggles in therapy to come to terms with her connection to Billy Loomis. When a new series of Ghostface killings turn up in New York, the Woodsboro survivors must once again come together to fight to survive.

Scream VI May Not Be Leaner, But It’s More Brutal and Edge-Of-Your-Seat Than Past Sequels

As compared to most of the series, Scream VI feels more brutal – its Ghostface just comes across as exceptionally vicious this time around. Directors Matt Bettinelli-Olpin and Tyler Gillett up the gore factor just a bit from past sequels. But have no fear. Bettinelli-Olpin and Gillett craft several well-staged scenes that heighten the suspense to almost unbearable levels. Whether it’s the convenience store scene or a scene where the protagonists have to make their way across a ladder straddled between two buildings, Scream VI may be the most edge-of-your-seat entry in the franchise. Perhaps the sequel is a bit too long. Nevertheless, the subway scene and climax justify the longer runtime. Just in terms of pure suspense, this is one of the series’ best chapters.

Just in terms of pure suspense, this is one of the series’ best chapters.

Where Scream VI feels a bit stretched is its efforts to continue the same storytelling format. That is, Scream 3 also felt strained by its ‘rules of a trilogy’. Comparatively, Scream IV and last year’s Scream felt like there was a reason the franchise needed to return. However, screenwriters James Vanderbilt and Guy Busick struggle to make the series’ meta-narrative work this time around. When Mindy recites the rules of a ‘franchise’, it feels about as sketchy as what Scream 3 had to offer. In fact, Scream VI works at its best when it focuses on its characters and their journey and relationships as opposed to when its squeezing in its meta bits. In fact, one could argue that this sequel suggests that the series can live on without the need to cram in its legacy narrative.

Scream VI Has a ‘Core Four’ That Can Carry Future Sequels

Does Scream VI miss Neve Campbell? After being such an integral role to the franchise, it’s strange to only get a wasted namedrop in the sequel. And to be clear, Campbell deserved to get paid for returning. Yet there’s more than just an argument to be made here that the series is ready to move past its legacy characters. While it’s nice to see Courtney Cox return, her character has nothing to do but recycle her story from past sequels. To some extent, Scream VI shoehorns Cox into the movie for what feels like no other reason but franchise continuity. By the end of this sequel, there’s really no doubt that the current core cast is more than capable of carrying on future entries.

…Savoy Brown steals every scene she’s in.

Simply put, it’s hard not to love the ‘Core Four’ characters that the latest sequels have introduced. Melissa Barrera’s ‘Sam Carpenter’ brings a complexity that we haven’t seen in the series – or most horror franchises. Since Scream came out last year, Jenna Ortega (You, Wednesday) has completely blown up. Nevertheless, Scream VI still keeps its focus on Barrera’s ‘Sam’, while allowing for an organic relationship to develop between the characters. All of the relationships between the four main survivors lend the sequel some emotional heft. Both Mason Gooding and Jasmine Savoy Brown (Sound of Violence) are two of the best characters in the series. In particular, Savoy Brown steals every scene she’s in.

Scream VI Continues The Franchise With a Solid Entry That Promises a Bright Future

Somehow the Scream franchise continues to hum right along with no end in sight. Gillett and Bettinelli-Olpin haven’t just made a decent entry – Scream VI is a brutal, full-throttle slasher that’s as often as clever as it is suspenseful. Maybe this sequel was a bit too long. And the franchise rules felt like about as much of a stretch as the ‘rules of a trilogy’ in Scream III. At six movies into the series, the writers are stretching just to get these movies produced. But Scream VI is a case of the ends justifying the means. With a ‘Core Four’ with whom audiences can identify and root for and Gillett and Bettinelli-Olpin behind the camera, a Part VII feels pretty welcome for horror fans.

THE PROFESSOR’S FINAL GRADE: A-

Jason Goes To Hell Makes a Strong Case for Being the Franchise’s Low Point

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Once Paramount Pictures resurrected Jason Voorhees with lightning in Jason Lives, the franchise was running out of options for subsequent sequels. But increasingly ridiculous sequel setups weren’t the biggest problem for Friday the 13th. Audiences were losing interest and, as a result, Jason Takes Manhattan saw declining box office receipts. By 1993, New Line Cinema – The House That Freddy Built – owned the distribution rights to Jason Voorhees. The big plan was a Freddy vs Jason matchup on the big screen. Before that happened, Jason Goes to Hell promised a ‘Final Friday’ for slasher fans in 1993. Unfortunately, no one much liked the supernatural re-imagining of the iconic character and a series low at the box office delayed the crossover plans for a decade.

Synopsis

Several years after Jason Voorhees apparently died in Manhattan, a SWAT team seemingly destroys the relentless killer at Camp Crystal Lake. At the morgue, however, the coroner eats Jason’s still-beating heart, allowing the indestructible madman to possess him. Now only a living relative can end Jason Voorhees’ killing spree.

Jason Goes to Hell is a Stupid Movie … Even The Ninth Entry in a Tired Franchise

Just writing out the above synopsis felt painful. Now imagine watching the movie based on that ridiculous premise. Yes, Friday the 13th veered into the supernatural with Jason Lives and continued the trend when Friday the 13th Part VII: The New Blood ripped off Carrie. Still writers Jay Huguely and Dean Lorey did their best to put the ‘Final’ in the sequel’s ‘The Final Friday’ title. Somehow the writers managed to concoct a way to continue the slashing that was more asinine than the ending to Jason Takes Manhattan. And it’s not just a singularly dumb idea. This is a premise that fails on multiple levels.

Somehow the writers managed to concoct a way to continue the slashing that was more asinine than the ending to Jason Takes Manhattan.

By and large, slasher sequels ask us to suspend a lot of disbelief. We just have to accept that killers can get up from fatal wounds to continue the death count. If The New Blood and Jason Takes Manhattan were lazy in their set-up, Jason Goes to Hell feels a bit insulting. Why a coroner would consume a killer’s heart stretches the franchise to cartoonish levels. Moreover, the sequel commits the same mistake made in A New Beginning – we don’t really get Jason Voorhees. Instead, we get characters possessed by Jason’s spirit committing atrocities alongside some sort of demonic slug. Last but not least, Jason Goes To Hell lazily cribs off of Freddy’s Dead, retconning what we know and giving us the extended Voorhees family.

Jason Goes to Hell Lacks Defining Death Count and Fun – Intentional or Otherwise

In addition to being one of – if not the – dumbest of the franchise sequels, Jason Goes To Hell disappoints on even the basic slasher requirements. Yes, Friday the 13th sequels stopped being scary long before this 1993 entry. In fact, some horror fans may point out that scares and suspense never defined the series. Nevertheless, director Adam Marcus can’t even cobble together basic jumps or simple thrills. What hurts even more is the lack of well-staged kills that most certainly defined the franchise. No sleeping bag kill. No machete to the crotch. Even Jason Takes Manhattan had a couple of decent over-the-top death scenes. There’s also no humor in Jason Goes to Hell – intentional or otherwise.

What hurts even more is the lack of well-staged kills that most certainly defined the franchise.

Maybe Friday the 13th still offered value to character actors looking for credits because a couple of familiar faces turn up. Buck Rogers alum Erin Gray can say she’s related to Jason Voorhees courtesy of retconning. And Richard Gant (Rocky V), Steven Williams (21 Jump Street, The X-Files), and the late Leslie Jordan (American Horror Story) all turn in small supporting performances. In fact, Williams continues a tradition of Friday the 13th sequels faking out audiences with characters teased as ‘heroes’ who end up dying unceremoniously. Perhaps the only thing that makes Jason Goes to Hell noteworthy is that it marks Kane Hodder’s (Death House, Victor Crowley) last appearance as Jason.

Jason Goes To Hell May Be The Worst of the Long-Running Series

Debate whether Jason X is a guilty pleasure or just poorly conceived movie, but there’s little good to say about Jason Goes To Hell. Bottom line, this is a bad movie on any objective measure of quality. On one hand, it’s a thoroughly stupid sequel that unnecessarily retcons and overburdens the original movie’s simple slasher formula. While it’s a braindead movie, Jason Goes To Hell is also a boring effort that lacks imagination, scares, and suspense. What’s worse, the sequel makes the same mistake the franchise already committed with Friday the 13th: A New Beginning – it sidelines Jason for most of the movie. If you can’t fit all the movies into a Friday the 13th marathon, this would be the sequel to skip.

THE FINAL VERDICT: JUST A BAD MOVIE

On The Second Day – Silent Night Deadly Night 4: Initiation May ‘Bug’ Fans of the Series

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If Silent Night, Deadly Night is something of a Grindhouse cult classic, its sequel inexplicably became a belated meme classic. What you may not know is that the sequels kept coming. Like other B-level horror franchises, Silent Night, Deadly Night lived on with a handful of straight-to-video sequels. Bill Moseley (The Devil’s Rejects) turned up with a fish bowl on his head for the first of these sequels. At least this sequel remembered the premise from the first two movies. By 1990, the franchise took a weird turn away from its ‘Killer Santa’ concept to explore covens and … bugs. More chintzy than sleazy, Silent Night, Deadly Night 4: Initiation failed to make much of an impression on fans or critics.

Synopsis

Stuck running the classified ads for a Los Angeles newspaper, Kim Leviit dreams of being an investigative journalist. But she faces constant sexism from a boss who favours the ‘old boys’ network in the office. When a woman falls to her death, half her body burning in a bizarre instance of spontaneous combustion, Kim secretly chases down the story. Her investigation uncovers a coven of witches who worship Lilith … and who may be looking for a new victim to initiate in a ritualistic sacrifice.

Silent Night Deadly Night 4: Initiation Defines Early 90s Straight-To-Video Horror

None of the Silent Night, Deadly Night movies are going to fool anyone into believing that they are good movies. And it’s not so much that each sequel is incrementally worse than the previous entry. Rather each move in the series seems to find its own way to be uniquely bad. Case in point, Silent Night, Deadly Night 4: Initiation takes itself more seriously than the notoriously bad Part 2. And director Brian Yuzna (Society, Return of the Living Dead 3) actually delivers a fairly interesting opening scene minus some miscasting (more on that below). From that point onward, however, Initiation looks and feels like an early 90s straight-to-video horror effort. By the way, that’s not a compliment. Everything looks and feels flat in this sequel – from the color palette to the score.

This style shift means Initiation can’t cash in on some inventive Yule-inspired kills, thus making its connection to the franchise even more tenuous.

Despite its official sequel status, Silent Night, Deadly Night 4: Initiation bares no resemblance to the earlier franchise movies. This is a sequel in title only with screenwriter Woody Keith barely even working Christmas into the story. Aside from its lack of narrative connection to the other movies, Initiation also abandons the slasher format entirely in favor of a pseudo-supernatural tale. This style shift means Initiation can’t cash in on some inventive Yule-inspired kills, thus making its connection to the franchise even more tenuous. Moreover, it leaves the sequel to lean on a convoluted take on covens and mythology around Lilith … and bugs.

Silent Night Deadly Night 4: Initiation Weird, But Not Weird Enough for Cult Status

Prior to Silent Night, Deadly Night 4: Initiation, Yuzna cut his teeth on the bizzarro satirical horror movie, Society. Later Yuzna would add a belated sequel to another horror franchise – Return of the Living Dead 3. These movies, and Initiation, include bits of surrealist and body horror to varying degrees. Neither as ‘cultish’ as Society nor as strangely compelling as Return of the Living Dead 3, Initiation mostly feels flat even when it’s odd. Yes, there’s some gross out body horror courtesy of giant cockroaches and an oozing larva that’s vomited out at one point. How are these bits connected to the overall story? That proves difficulty to pinpoint. So while there’s some weirdness in this sequel, it feels random and not nearly strange enough to elevate this to cult status.

Yes, there’s some gross out body horror courtesy of giant cockroaches and an oozing larva that’s vomited out at one point.

Though horror veterans Reggie Bannister (Phantasm) and Clint Howard (Evilspeak) turn up in supporting roles their impact on the final product is mixed. On one hand, Bannister barely registers in what’s little more than a cameo. And Howard feels miscast in a role that might work better if played by someone just a tad more menacing. As it stands, Howard seems to get that the whole sequel is ridiculous and plays it that way. But Yuzna plays the tone rather straight-faced, which makes Howard’s performance feeling even more incongruent. Classic Bond girl Maud Adams fails to add much as the Lilith-worshiping villain. And the less said about lead actress Neith Hunter’s performance, the better.

Straight-To-Video Sequel Bares Little Resemblance to its B-Franchise Inspiration

In addition to ditching both the ‘Killer Santa’ concept and slasher format, Silent Night, Deadly Night 4: Initiation eschews logic. It also discards with scares, decent pacing, and compelling performances among other things. In fact, the Christmas backdrop feels forced to allow the sequel to just tag along with the series. Though Yuzna had a knack for offbeat horror movies, Initiation is weird but seldomly interesting. There’s some gross out moments but Yuzna opts to play it straight rather than embrace the sequel’s silliness. As a result, this straight-to-video sequel is the kind of forgettable 90s schlock that only the most nostalgic fans will embrace.

THE FINAL VERDICT: LEAVE IT IN THE 90S

Howling VI: The Freaks Slightly Improves Over Really Bad Sequels

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To date, The Howling remains one of the best werewolf movies ever made. What you may know is that The Howling was followed be several sequels. Like The Puppet Master or Children of the Corn, The Howling spawned a seemingly never-ending series of straight-to-video sequels. Unlike those B-level franchises, The Howling sequels have absolutely no narrative connections to one another. They also haven’t extended on as along as these other franchises, making it something of a C-level franchise. Spoiler alert – most of the sequels are terrible. Like really bad. For some reason, The Howling VI: The Freaks re-surfaced briefly on Disney Prime and people watched it. Should you check it out or is this Howling sequel best left in the 90s?

Synopsis

Canton Bluff is a dying town – every day another resident leaves and a building goes empty. And then a British drifter, Ian Richards arrives, and everything changes. In exchange for a place to stay and food, Ian helps the local pastor, Dewey, to restore the town’s church. When a travelling carnival arrives, however, Ian recognizes a familiar evil that threatens the town and himself.

The Howling: VI The Freaks Does a Bit With Very Little

It would be easy to just label The Howling VI: The Freaks as a bad movie. And to be perfectly honest, it’s not a ‘good’ movie based on any objective standard. But from its opening scene this low-budget sequel is at the very least watchable. Maybe it’s low expectations. Keep in mind, this sequel has nothing going for it. Director Hope Perello and writer Kevin Rock did nothing before or after this movie. This is also the fifth sequel to a great movie followed by unrelated and increasingly bad sequels. In addition, The Howling VI: The Freaks is a straight-to-video sequel starring absolutely no one you will recognize.

But from its opening scene this low-budget sequel is at the very least watchable.

Those are just the immediate issues with The Howling VI: The Freaks. Maybe Perello knew their budget didn’t extend very far. Or perhaps Rock thought they were writing a more emotionally complex story. Regardless of the reason this werewolf has very little werewolf action. In fact, there’s not much action of which to speak. Expect to wait until the bitter end before the movie’s vampire faces off with the werewolf. The results are also underwhelming. In addition to its perfunctory climax, The Howling VI: The Freaks is riddled with plot inconsistencies. That is, writer Kevin Rock seems to have little to no understand of werewolf or vampire mythology. Even basic real world law kind of stuff evades this sequel. Why does no one in this movie think it’s wrong that a carnival barker puts abducts and confines a human being?

The Howling VI: The Freaks Won’t Make Horror Fans Forget the Joe Dante Classic

Lead villain Bruce Payne would go on to play the big heavy in Wesley Snipe action flick, Passenger 57. And that’s it. No one else among the cast is remotely recognizable. As R.B. Harker, Payne adds what amounts to the most professional performance in the film. It’s a better performance than what you’d expect in this sort of movie. And last name, ‘Harker’, amounts to something of a clever wink to audiences. Maybe some viewers will recognize a young Deep Roy (Charlie and the Chocolate Factory). As the love interest, Michele Matheson stands out like a sore thumb amongst mostly wooden performances. While most of the supporting cast are subtly bad, Matheson is clearly poor in the role.

In all likelihood, The Freaks dials down the werewolf action to avoid overexposing its low budget.

Before playing our British werewolf, Ian, Brendan Hughes co-starred with George Clooney in Return to Horror High. Outside of that career highlight, Hughes didn’t do much after The Howling VI: The Freaks. Certainly, Hughes is the least of this sequel’s problems as he’s more than adequate in the role as long as the screenplay doesn’t place too much of a demand on him. In all likelihood, The Freaks dials down the werewolf action to avoid overexposing its low budget. However, the makeup effects on screen are actually not bad. Despite the sluggish pace, the character focus and small budget atmosphere make this one watchable.

The Howling VI: The Freaks Sort of Exceeds Very Low Expectations

On just about any technical level, The Howling VI: The Freaks isn’t a good movie. Think of what you consider important qualifications for a good movie. Acting – it ranges from middle-of-the-road to terrible here. Logical story – don’t expect any internal consistency. And this sequel is often dull. Yet in spite of all its limitations, The Howling VI: The Freaks isn’t an outright terrible movie. While it’s not saying much, this is probably the best of The Howling sequels. Moreover, The Freaks is a watchable movie that doesn’t overextend itself. This is a bad movie that knows exactly what it is. Lover of bad cinema may find something to enjoy. Just don’t expected an early 90s version of Underworld.

THE FINAL VERDICT: LEAVE IT IN THE 90S

Child’s Play 3 a Franchise Low Point For Chucky

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No, the Child’s Play franchise isn’t as successful as Friday the 13th, Halloween, or A Nightmare on Elm Street. Yet its history might be more interesting. And Don Mancini’s creation has shown remarkable longevity. Following a ‘so so’ remake, Mancini got a new series off the ground last year that’s actually pretty damn good. With a second season of Chucky just around the corner now might be a good time to revisit the series entry that triggered an eventual course correction – Child’s Play 3. After a surprisingly decent first sequel, Child’s Play 3 proved to be unremarkable. Eventually Mancini detoured the tone of the series with Bride of Chucky, but before that, we had this critical dud.

Synopsis

Several years have passed since Andy Barclay destroyed Chucky in the Play Pals factory. After bouncing from foster home to foster home, Andy finds himself stuck at the Kent Military school. Now the Play Pays company has inexplicably decided to bring the Good Guys doll line back. But when Chucky’s blood inadvertently mixes into boiling plastic materials, the killer doll returns with a vengeance.

Child’s Play 3 Plays Out Like a Rote 90s Thriller

Oh, the 80s and early 90s were simpler times. Today, audiences are consumed with continuity, Easter eggs, and franchise canon. Back in 1991, horror franchises didn’t worry too much about how sequels developed canon or logical continuity. For Child’s Play 3, the creative decision to move the action to a military school was more than enough to justify bringing Chucky back. And the sequel’s change of scenery pretty much represents the movie’s high point. Otherwise what you get is pretty much a standard 90s horror movie and/or sequel. In fact, one could make a good case that Child’s Play 3 perfectly represents the early 90s horror movie.

nd the sequel’s change of scenery pretty much represents the movie’s high point.

Director Jack Bender isn’t entirely to blame – the Motion Picture Association of America spent the latter half of the 80s neutering theatrical horror releases. While the Child’s Play series was never defined by graphic gore like other slashers, this sequel is pretty middle-of-the-road stuff. Most of the violence is carefully edited to keep the rating in check ensuring that the sequel is pretty tame stuff. While slasher movies don’t necessarily need the kind of gore that defined the early 80s, Bender doesn’t have the chops to compensate. Though it’s well paced and produced, Child’s Play 3 lacks anything remotely resembling suspense, tension, or scares. Don’t even expect the occasional jump scare. This is a paint-by-numbers effort from start to finish.

Child’s Play 3 Benefits From Another Fun Brad Dourif Performance

Arguably, the biggest problem plaguing Child’s Play 3 is the rote screenplay. This is a completely familiar and predictable horror movie that may feel like comfort food to die hard fans and contrived to everyone else. Poor Andy Barclay learns Chucky is back. Does everyone think he’s crazy? Yes. Bad things start to happen at the Kent Military School. Do people blame Andy? Of course they do. By and large, Child’s Play 3 operates as a standard 90s thriller. Expect few surprises – even the finale struggles to distinguish itself. Nothing about this sequel is awful, but there’s certainly nothing that sets it apart. Everything about it feels perfunctory.

By and large, Child’s Play 3 operates as a standard 90s thriller.

Fortunately, Child’s Play 3 still has Brad Dourif voicing Chucky. If there’s one thing Child’s Play fans expect and want it’s cheesy one-liners, which this sequel delivers on in heavy doses. If it’s a bland sequel, at least Dourif seems to still be having fun. And he’s easily the best part of this sequel. While Child’s Play fans may disagree, Justin Whalin is actually quite good as a teenage Andy Barclay. He brings some charisma to a role limited by convention. It would have been nice to have a bit more of Perrey Reeves in the movie as her character feels like a refreshing addition to the cast. At least 80s horror fans can get excited for a small supporting role from Hellraiser’s Andrew Robinson.

Child’s Play 3 Finds the Franchise in Dire Need of a New Direction

On one hand, Child’s Play 3 is a perfectly watchable sequel that’s mostly inoffensive (for a slasher movie). Neither memorably good nor painfully awful, the sequel dutifully checks off the boxes. Contrary to what series purists might, Justin Whalin actually acquits himself quite well replacing Alex Vincent as ‘Andy Barclay’. Still if Universal Pictures thought the military school setting was the update the franchise needed, they sorely missed the point. As part of one of horror’s more interesting series, Child’s Play 3 represents something of a low point. Today, the sequel is more endemic of what was wrong with horror in the early 90s than anything else.

Scream 2022 Takes A Successful Stab At Re-Invigorating the Franchise

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A decade passed between what was supposed to be the end, Scream 3, and Wes Craven re-visiting his creation in 2011 with Scream 4. Plenty had changed in the horror genre and Craven found a new voice for his belated sequel. Yet despite better-than-expected results, audiences largely stayed away. Ultimately, Scream 4 was the lowest grossing movie in the series. Another decade has passed, more has changed in horror, and Ghostface is back in Scream 2022. This time directors Matt Bettinelli-Olpin and Tyler Gillett (Ready or Not) take the reins from the late Craven. And the results have impressed critics and fans alike.

Synopsis

Twenty-five years have passed since Billy Loomis and Stu Macher’s slasher-inspired massacre in Woodsboro. After years of silence, Ghostface returns and a new killing spree begins. But this time the victims all have a connection – each one is related to one of the killers or victims of the original Woodsboro massacre. When high school student Tara Carpenter survives an attack, it bring her sister, Sam, and boyfriend, back to the small town. But Sam has a dark secret and as the bodies pile up she turns to past Woodsboro survivors for help.

Scream 2022 Carves Out New, Timely Meta-Commentary

Directors Matt Bettinelli-Olpin and Tyler Gillett know their way around horror. And it immediately shows with the kind of opening scene that has in part defined the franchise. Nothing will compare to Drew Barrymore’s shocking introduction (and quick exist) in the original Scream. Still Bettinelli-Olpin and Gillett deftly set up scares while making clever use of technology upgrades since 2011. Franchise callbacks – including a return to Stu Macher’s house – don’t overcrowd new ideas. Moreover, Ghostface finds an edge that builds on where things left off in Scream 4. In Scream 2022, the kills feel more vicious than prior sequels.

While there’s some jabs at elevated horror, Scream 2022 largely takes aim at toxic fandom.

Of course, it wouldn’t be a Scream movie without some meta-commentary. Fortunately, in the 10 years since the last installment, the horror genre, and general movie landscape, has changed. As such, writers James Vanderbilt and Guy Busick have plenty with which to work. While there’s some jabs at elevated horror, Scream 2022 largely takes aim at toxic fandom. Over the last several years, fan responses to divisive series entries – from Game of Thrones to Justice League to The Last Jedi – have pulled back the curtain on the dark side of fandom. Besides its timely relevance the theme adds fresh motive for new killers. And a sly reference to the ‘Knives Out guy’ directing Stab 8 is the kind of inside humor we expect. Vanderbilt and Busick’s references to legacy sequels also gives Scream 2022 a clever shake-up to the familiar story.

Scream 2022 Brings Back Legacy Characters While Introducing Fun New Faces

Another way Scream 2022 finds new life in the franchise is both in its introduction of new characters and the way in which it balances fresh faces with legacy characters. In fact, the sequel wisely spends most of its time with these new characters. As sisters Sam and Tara, Melissa Barrera and Jenna Ortega (You, The Babysitter: Killer Queen) fit extremely well into the franchise. Jack Quaid brings a bit of quirkiness and humor. With Mason Gooding and Jasmin Savoy Brown’s (Sound of Violence) as the Meeks-Martin twins, the franchise feels like it it’s in good hands. The story in Scream 2022 – and its conclusion – certainly opens the door for more sequels.

…the sequel wisely spends most of its time with these new characters.

But our legacy characters do return. And Scream 2022 uses them well with David Arquette’s ‘Dewey Riley’ serving as the emotional core that brings back Neve Campbell and Courteney Cox. If the movie belongs to the new faces, there’s still something very satisfying watching these characters get to kick some ass in the finale. What doesn’t work quite as well is Skeet Ulrich’s inclusion. Though Samantha’s Carpenter’s familiar connection to Billy Loomis adds a wrinkle – and possible sequel direction – the visions she experiences of her dead father feel forced. There’s also a feeling missed opportunity with Matthew Lillard’s ‘Stu Macher’ barely namedropped despite his old house playing a pivotal role.

Scream 2022 A Strong Sequel … and a Promising Future

Maybe the Scream franchise just found the right formula for success – wait about 5 or 10 years for each sequel. Aside from an over-stuffed plot, Scream 3 really had no reason to exist. But Scream 4 found new targets in the horror remake craze and Millennial obsession with fame. Now Scream 2022 re-invigorates Ghostface with some biting criticism of toxic fandom and legacy sequels. Oh, and Bettinelli-Olpin and Gillett bring the expected dark humor alongside some decent scares and vicious kills. And as nice as it was to see legacy characters return, the new faces ensure the franchise is in good hands.

THE PROFESSOR’S FINAL GRADE: A-

Texas Chainsaw Massacre: Decent Slasher, So-So Texas Chainsaw Sequel

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Here we go, again. When Halloween found success going back to basics, it was only a matter of time before other horror franchises followed. Technically, The Texas Chainsaw Massacre already went this route. Before we were calling them legacy sequels or ‘re-quels’, the awful Texas Chainsaw 3D positioned itself as a direct follow-up to the Hooper’s 1973 original. But if at first you don’t succeed, you just ignore that sequel and try again. At least this time, Netflix’s Texas Chainsaw Massacre has the Halloween template. And based on initial critical responses, this legacy sequel may have tried too hard to fit a square peg into a round hole.

Synopsis

Nearly fifty years ago, Sally Hardesty survived a brutal massacre – her attacker was never caught. Now a bus of young influencers and investors have descended on a Texas ghost town with dreams of bringing it back to life. But there’s still one resident hiding in the old buildings. And once he emerges from hiding, it draws Hardesty to the town to finally have her revenge.

Texas Chainsaw Massacre Puts the ‘Chainsaw’ and ‘Massacre’ In It Title

Opinions will vary on whether Texas Chainsaw Massacre is a good series entry. But director David Blue Garcia accomplishes one thing. Here, he’s made a pretty damn good slasher movie. Almost no time is wasted getting to what audiences came to see. And once the mayhem starts, Garcia rarely lets things slow down for long. Though Hooper’s original was never as explicitly graphic as its legend suggest, the legacy sequel certainly lives up to its title. Expect plenty of grisly violence rendered with some impressive make-up effects. Chainsaw mutilations, limb-snapping, hammers, broken glass – this is easily one of the more brutal slashers in recent memory.

Garcia ups the sequel’s body count in a wildly orchestrated orgy of violence.

Arguably two scenes teased in promotional materials elevate this one above other slashers. Most viewers will have plenty to say about the tourist bus scene. If you’re going to make a movie with the words ‘chainsaw’ and ‘massacre’ in the title, this is how you do it. Garcia ups the sequel’s body count in a wildly orchestrated orgy of violence. But an earlier scene set in a field of sunflowers may the best moment in Texas Chainsaw Massacre. There’s actual suspense set against quiet and impressively sun-soaked cinematography. Some may take issue with Garcia’s ending. But it’s shocking and consistent with the sequel’s tone.

Texas Chainsaw Massacre Doesn’t Add Much Meat to the Bone

Much of Texas Chainsaw Massacre’s problems can be attributed to a weak screenplay. Working from Fede Alvarez (Evil Dead) and Rodo Sayagues’ (Don’t Breathe, Don’t Breathe 2) story, Chris Thomas Devlin offers little in the way of a cohesive vision. For 30 minutes or so, Devlin teases several big ideas, promising a more thoughtful approach to the material. Does he have something to say about gun violence? Or maybe he wants to tackle Zoomers and the generation gap or gentrification? All of these buzzwords get a mention. And Texas Chainsaw Massacre promptly forgets them once the carnage starts. This isn’t particularly surprising since the sequel largely forgets about its own characters. Both Sarah Yarkin and Elsie Fisher are fine as the largely nondescript sister.

…Hardesty functions more like an Easter Egg than an actual character.

Two of the sequel’s bigger problems, however, are its legacy characters. Though Leatherface is a disturbing horror icon, the character works better surrounded by bizzaro family members. The Hitchhiker, The Old Man, Chop Top, Sheriff Hoyt – they’re missed her. And Garcia strips Leatherface of much of the character’s personality, Here, Mark Burnham’s Leatherface isn’t much more than a hulking killer. In spite of Texas Chainsaw Massacre’s efforts to follow the Halloween 2018 template, Garcia doesn’t give Olwen Fouere’s (Mandy) Sally Hardesty the Laure Strode treatment. In what’s little more than a glorified cameo, Hardesty functions more like an Easter Egg than an actual character.

Texas Chainsaw Massacre Mostly Overcomes Its Limitations

No one is ever going to confuse this legacy sequel with the original Texas Chainsaw Massacre. Plenty of things just don’t work here. Chief amongst the sequel’s problems, the Sally Hardesty character feels misplaced and wasted in what should be her story. Moreover, the sequel overestimates Leatherface’s onscreen presence. Nonetheless, Texas Chainsaw Massacre carves out some brutal kills in a tightly paced manner. Garcia doesn’t waste much time. Some may hate the ending, but it’s undeniably shocking. For better or worse, Netflix gives us a good slasher and a reasonably decent Texas Chainsaw movie.

THE PROFESSOR’S FINAL GRADE: B-