Child's Play 2.

Review #2287: Child's Play 2.

Cast: 

Alex Vincent (Andy Barclay), Brad Dourif (the voice of Chucky), Christine Elise (Kyle), Jenny Agutter (Joanne Simpson), Gerrit Graham (Phil Simpson), Grace Zabriskie (Grace Poole), Peter Haskell (Haskell Sullivan), Beth Grant (Elizabeth Kettlewell), and Greg Germann (Mattson) Directed by John Lafia.

Review: 

Honestly, I forgot about Chucky. If you remember, the original film came out in 1988 as inspired by the experiences of Don Mancini involving consumer demand for the Cabbage Patch Kids while he was studying film at UCLA. The resulting film had clear influence from stuff such as the TV film Trilogy of Terror, The Twilight Zone, A Nightmare on Elm Street, among others. Of course, it wasn't all Mancini, because there were key re-writes done that resulted in Tom Holland and John Lafia given credit for the screenplay alongside Mancini. Holland was the one who had it involve a doll possessed by a serial killer involving voodoo, as opposed to Mancini's doll manifesting "the id", while Lafia stated his biggest contribution was the backstory of the killer-turned-doll and the name Chucky (inquire further). The eventual result was a hit with audiences that obviously necessitated a sequel. Lafia, the previous director of exactly one film with The Blue Iguana (1988), was chosen to direct (as it turned out, it was the second of three theatrical films he did to go along with work in TV, music, and even the live-action aspects of the video game Corpse Killer prior to his suicide in 2020). The second film was successful enough with audiences to inspire, well, you already know. A third film was rushed out into theaters nine months after the release of the second film with Mancini returning to write (with Jack Bender being tapped to direct) and Dourif being the long returning actor (Justin Whalin replaced Alex Vincent to play an older Andy).

Admittedly, it doesn't have as much staying power that the original had when it comes to sheer audacity in its premise of a killer with the perfect timing to wreak havoc in a particular family atmosphere. But it is solid enough to at least work in some useful enough slasher thrills without straining too much in credibility to work out for those who know what they're getting into. For better or worse, the movie sidesteps the two key adults from the last film (Chris Sarandon and Catherine Hicks), instead focusing right on Vincent and a plot that mostly involves "Chucky did it" after one gets the setup to bringing back the once-burned, multiple-timed shot threat back with a somewhat amusing method: public relations and an electric power surge. I suppose someone must've dozed off watching a Frankenstein movie or two in their days, but there is one more caveat at least: Chucky either needs to get moving on doing his voodoo ritual (which if one remembers has to be done on Andy) or he'll be stuck in the doll forever. The acting is serviceable for what is needed in getting a solid body count setup without being too dull for words, complete with Dourif (whose dialogue was recorded in advance, unlike the first film) being just as effective as he was before when it comes to further craven desires of escape at any cost (Ed Gale does a few moments with in-suit stunt performing as before). Vincent is no slouch for his age of course, because he makes the plight of the once-and-future doll survivor work in worthwhile sympathy and curiosity for the rough surroundings that befall him, with only the offbeat Elise around for useful rapport. Agutter and Graham are fine, but let's face it, the most interesting moment is seeing what happens with skepticism going down the gutter to (film) reality. The slasher sequences carry the movie right through 84 minutes in swift dealing to go along with a climax in a bewitching enough warehouse and a fitting closing that just lets the film end on its own wayward path. Child's Play 2 is a decent enough sequel with a few interesting slasher moments to prove worthwhile in the attempt at making a killer doll return something worth being curious about.

Overall, I give it 7 out of 10 stars.

Talladega Nights: The Ballad of Ricky Bobby.

Review #1706: Talladega Nights: The Ballad of Ricky Bobby.

Cast: 

Will Ferrell (Ricky Bobby), John C. Reilly (Cal Naughton Jr), Sacha Baron Cohen (Jean Girard), Michael Clarke Duncan (Lucius Washington), Leslie Bibb (Carley Bobby), Gary Cole (Reese Bobby), Jane Lynch (Lucy Bobby), Amy Adams (Susan), Andy Richter (Gregory), Houston Tumlin (Walker Bobby), Grayson Russell (Texas Ranger Bobby), David Koechner, Ian Roberts & Jack McBrayer (Hershell, Kyle & Glenn), Pat Hingle (Larry Dennit Sr), Greg Germann (Larry Dennit Jr), Molly Shannon (Mrs. Dennit), Ted Manson (Chip), and Rob Riggle (Jack Telmont) Directed by Adam McKay (#526 - Anchorman: The Legend of Ron Burgundy, #693 - Anchorman 2: The Legend Continues, #1574 - The Big Short)

Review:

There are just a few movies that are inevitable to watch, as I've said before. I was waiting to do this film for quite a while, so why not today - the fifteen year anniversary of its release? It's strange to say this, because I've had a strange time of memories when it comes to NASCAR. Honestly, I remember being a fan of racing as a kid, mostly because my dad was fan of the sport (particularly with Dale Earnhardt, as I recall); I haven't kept up with it as much, but I find it an interesting curiosity (granted, this also applies to the Indianapolis 500 but not so much with Formula One). Honestly, it is probably an interesting task to try and make a worthy movie about stock car racing when the argument about the best one at that point was between Days of Thunder and Cars (of course, one could be charitable and add The Last American Hero)? But hey, one needs a good ballad involving Talladega Superspeedway and the art of racing in the hot sun and hoping to avoid "The Big One", as the saying goes. The idea for the film came to Ferrell and McKay when the former was working on Elf (2003); despite not being huge fans of the sport, they soon got swept up in the phenomenon involved with the track experience (incidentally, Ferrell actually studied sports information at the University of Southern California). This is the second of five collaborations between director/writer McKay and Ferrell (who had met on Saturday Night Live, as McKay worked as a writer and Ferrell as a performer), who each wrote the script for this film. 

It doesn't take too many words to say that I enjoyed this one. It has fun with the sports movie formula (specifically the biopic angle) by coming off as fairly authentic in its enthusiasm for the sport (one filled with cars driving for brands, if you remember) along with having a well sense of timing and improvisation that one can see with the end credits and its various takes on certain little moments that never rides a gag for too long or overstay its welcome in 108 minutes. It rides the wave of clichés well, extolling itself about family and the spectacle of victory without condensation or fluff. Ferrell plays the title role with great relish, confident in his timing that lends itself to plenty of zingers and brash charm beyond just the race track. Reilly makes a worthy counter to Farrell, a useful second fiddle with earnest infectious charm, while Cohen zings his way through eccentricity as the main foil that plays to consistent chuckles when paired with Farrell in any type of scene, which either involves a friendly conversation about broken arms/crepes to the nature of needing to beat the other at driving. Duncan was always a solid character presence, and he certainly makes his little moments count for what is needed, made clear with an amusing sequence where he and Reilly try to "gently" help Farrell's character out of a chair and end up with two knives. The rest of the cast make it count fairly well with chuckles and warmth, whether that means with the transient (and brilliant) Cole or zippiness in Adams or even with the snappy Tumlin & Russell (Bibb and Lynch each serve as worthy counterparts to Ferrell, lest I forget). Germann rounds it out as the occasional straight man (paired at times with a spirited Shannon, naturally) that fits the film to a T with amusement that keep the film on its feet without seeming beholden to desperation; the races don't dominate the focus of the film, but one gets their fill and enjoys what they see from Talledega and perhaps sees the appeal of what draws folks to a place in Alabama every year. As a whole, it moves through its arc of rip-roaring racing and humor with plenty to offer for those who seek a feature that has not lost any steps to time that might be McKay and Ferrell's most solid work together, one for the folks who desire a bit of speed in their lives along with someone to go with it.

Overall, I give it 9 out of 10 stars.