Chucky isn’t just a killer doll anymore, he’s got an arsenal of smart devices he can use to make those he’s punishing for Andy hurt just a little bit more. Anyone watching knows what is coming the moment that happens. That moment is when the head of the fictional Kaslan company ( The West Wing’s Tim Matheson) sells us the Buddi doll as a completely interactive, smart device. There is a moment very early on in Child’s Play where it becomes plainly obvious that the film audiences are about to sit down with has almost nothing to do with its namesake. READ MORE: James Bond – The Road to Bond 25, Part Six: On Her Majesty’s Secret Service (1969) Now Andy needs to get rid of the homicidal Buddi doll before things get worse. It’s not until Andy has to stop Chucky from attacking the family cat because the teenager expressed his hatred for the feline after a scratch that it’s obvious something is wrong with Chucky. The slightly malfunctioning bot tries to sing the young man to sleep, wakes him up in the middle of the night to play, all manner of not-quite-right behaviour. Now the Buddi doll, accidentally named Chucky, is doing what it thinks is best to keep its new best buddy happy.
Including, but not limited to, swearing and stabbing people.
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Its artificial intelligence chip has been set to psychotic, meaning that while it’s learning how to be Andy’s best friend, it can learn a whole host of other stuff too. Little do Andy and Karen know, that this doll has been tampered with. Designed to be your best friend, Buddi is every kid’s dream, until he goes wrong. Karen’s solution to her son’s socially crippling loneliness is a Buddi toy an interactive doll that learns while it plays to make itself more life-like and can connect to any smart devices in your home. Having just moved to a new apartment, Andy Barclay (Gabriel Bateman, Lights Out) and his mother Karen (Aubrey Plaza, Scott Pilgrim Vs The World) are more or less alone in their little corner of Chicago. Thankless doesn’t even begin to describe the director’s task here. And by uphill battle, we mean ice skating, uphill, in gale force winds, with all manner of bladed implements coming at him. As the moist, warm stinkers like Prom Night and The Fog cloud memories of the originals, there is a Crazies, or even a Child’s Play, to renew faith in the scare genre.Īnd so, Norwegian director Lars Klevberg – who will himself be remaking his own excellent Polaroid for English speaking audiences that don’t like to read later this year – has found himself the uphill battle of remaking the beloved Child’s Play. But for every steaming pile of garbage Nightmare on Elm Street remake, there is a fresh classic Evil Dead. But these films keep getting made because they are cheap to produce and it only takes one decent Saturday night box office for them to turn a profit. It’s a hit and miss business model, with far more misses when it comes to horror. We call this a “reimagining” and it’s a product of a cynical Hollywood system that is in dire need of change.
When is a remake not a remake? When someone, somewhere decides that a known and loved franchise’s name is what’s going to sell a film, not what’s on the screen after the title card has faded out.
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