SAW IV (2007)

Review by Derrick Carter

Running Time: 1 hour 35 minutes

MPAA Rating: R for Sequences of Grisly Bloody Violence and Torture throughout, and for Language

Directed by: Darren Lynn Bousman

Written by: Marcus Dunstan & Patrick Melton

Starring: Tobin Bell, Costas Mandylor, Scott Patterson, Betsy Russell, Lyriq Bent, Athena Karkanis & Justin Louis

Even though SAW III could have been a fitting finale for one hell of a horror trilogy, a fourth film was greenlit before the third one even hit theaters. By the time SAW IV was released, Lionsgate had confirmed upcoming fifth and sixth installments were already in production. In other words, Lionsgate loved that SAW was banking at the box office and they planned on keeping their torture-porn money train rolling. Unfortunately, SAW IV is where the series began to dip into mediocrity and stupidity. SAW IV is the second-worst film in the franchise and seems entirely constructed of a half-hearted attempts to replicate better moments from the previous three chapters.

John Kramer (a.k.a. the Jigsaw Killer, played by Tobin Bell) has died. After being sliced open during an autopsy, a wax-coated tape is discovered in John’s stomach. Grizzled cop Detective Hoffman (Costas Mandylor) is called to the scene and plays the cassette only to find that Jigsaw’s twisted games aren’t over. Jigsaw apparently had another accomplice and SWAT team member Rigg (Lyriq Bent from the previous two SAW films) is playing a new sadistic game. Rigg cares too much about saving people (I guess that’s a flaw?) and a series of traps/games are meant to force him to “empathize” with Jigsaw. Meanwhile, new detectives Strahm (Scott Patterson) and Perez (Athena Karkanis) investigate Jigsaw’s shadowy recruit.

It’s hard not to sound bitter about SAW IV, but this film is a mess. Darren Lynn Bousman’s directorial chops slightly elevate the ridiculous material because his scene transitions are fun (aided by ingenious set designs) and there are a couple of decent scenes. It’s also worth noting that Lyriq Bent’s performance isn’t bad as he’s the first real heroic character to be put through Jigsaw’s tests, but this really raises eyebrows as Rigg’s problems aren’t really problems. Jigsaw had a method in picking his victims from their various sins that he saw as not appreciating life (e.g. drug use, suicide attempts, crimes, shady dealings, etc.) and Rigg doesn’t fit his M.O. at all. This is a huge plot hole that seems to exist purely to thrust Bent’s cop character into the spotlight.

As far as the series’ newcomers go, Scott Patterson and Athena Karkanis are two bland detectives on the Jigsaw case. Costas Mandylor may be the worst actor in the SAW series as Agent Hoffman and that’s saying a lot when you consider the low quality performances that populate a majority of this torture-porn franchise. Meanwhile, Betsy Russell is brought back as Jigsaw’s wife in both flashbacks and present day sequences. Russell also delivers a terrible performance. It’s too bad that Mandylor and Russell fill recurring roles throughout the last four films of this franchise, because their characters are boring and they can’t convincingly emote.

Even though his character is dead, Tobin Bell appears in flashbacks that deliver more details about how Kramer became Jigsaw. As if being diagnosed with cancer and surviving a suicide attempt weren’t sad enough (as glimpsed in the far superior SAW II), Kramer has also apparently been subjected to even more tragedy in his life that drove him to his “work.” A small subplot of how Kramer chose his first victim and invented his first device is kind of cool to watch, even though more insight into Jigsaw makes him less scary as a result.

SAW IV’s best trap hearkens back to the simpler, scarier bits of the series and involves a set of knives used in a disfiguring way. The rest of the traps are rather silly and out-ridiculous the already ridiculous (but cool) devices from SAW III. Apparently, straps attached to bed posts are strong enough to rip off limbs and one loud mechanical device was snuck into a mortuary without anyone noticing (playing a stitched-up spin on the first two parts of the phrase “See No Evil, Speak No Evil, Hear No Evil”).

Finally, SAW IV’s biggest slap in the face arrives in a twist ending that fails to leave much of an impact. Much like the rest of this lackluster sequel, SAW IV’s conclusion is a mediocre mish-mash of better scenes from better entries that came before this one. I don’t want to be specific because that would give away major spoilers for any viewer who dares to tread further into the series after the third film. I will just say that the conclusion of Rigg’s tests packs four eye-rollingly convoluted revelations in a row. There were further sequels to follow SAW IV and this isn’t even the worst film of the series. However, this is still a drastic step down from the quality of the first three SAWs. Just pretend that SAW is a trilogy and don’t venture into the IV-VII. Stop playing these games. It’s not worth it!

Grade: C-

SAW III (2006)

Review by Derrick Carter

Running Time: 1 hour 53 minutes

MPAA Rating: R for Strong Grisly Violence and Gore, Sequences of Terror and Torture, Nudity and Language

Directed by: Darren Lynn Bousman

Written by: Leigh Whannell

Starring: Tobin Bell, Shawnee Smith, Angus Macfadyen, Bahar Soomekh, Donnie Wahlberg, Dina Meyer, Leigh Whannell, Mpho Koaho, Barry Flatman, Lyriq Bent, Debra McCabe, Betsy Russell & Costas Mandylor

Another Halloween arrived in 2006 and so did another SAW movie. This third entry in the financially successful torture-porn franchise would have served as a solid finale to a gory trilogy. While that didn’t wind up being the case, SAW III is the last truly good entry in the series. III is the longest installment in the SAW series and delivers more sadistic traps, whilst further developing its two central antagonists and dishing out another twisted plot. SAW III is on par with the first SAW, while not reaching the tense heights of SAW II.

Shortly after the events of SAW II, the police are investigating a new series of seemingly inescapable traps from the Jigsaw killer. Things are more complex than they initially appear because former-survivor-turned-murderous-apprentice Amanda (Shawnee Smith) is aiding the ever-closer-to-death John Kramer (Tobin Bell). The pair of Jigsaw killers enact another twisted game which sees grieving father Jeff (Angus Macfadyen) confronting faces behind a tragic accident that claimed the life of his eight-year-old son. Meanwhile, surgeon Lynn (Bahar Soomekh) is fitted with a shotgun collar that’s tied to John’s heart monitor and struggles to keep him alive to ensure her own survival.

SAW III is back to the first film’s level in terms of shaky acting and dumb character decisions. Both of these qualities are epitomized in the character of Jeff. Part of me wants to love Angus Macfadyen’s performance and the other part of me wants to slap this protagonist upside the head. On one hand, Macfadyen is playing a severely depressed and grieving father who’s destroying his own life over the loss of his son and (as a result) is wrecking his family. It’s a sad character to watch and Macfadyen has his moments as Jeff. On the other hand, Jeff makes a lot of idiotic bone-headed decisions that hurt both himself and people around him. There are only so many times that you can drop a key in a tense scenario before I start yelling “Oh, come on!” at the screen. Also, it’s kind of important to look behind you when you’re holding a wire that’s connected to a loaded shotgun, but that’s neither here, nor there.

Bahar Soomekh fares better as Lynn, though her emotional state ranges from severely panicked to unbelievably calm. The various other victims are one-note stereotypes, even though brief attempts are made to flesh them out. The movie clearly wants us to feel bad for these people, but the viewer might tend to side with Jeff in a couple of moments. Tobin Bell and Shawnee Smith make up for the lack of acting talent around them because their on-screen killer chemistry is palpable. Their teacher-protégé relationship plays a big part in the proceedings and leads to emotions that come right out of nowhere. I never thought that I’d feel something for the Jigsaw Killer or his lackey, but Whannell managed to pull strange sympathy towards them.

Both of SAW III’s storylines jump back and forth from each other, much like the parallel plot structures of the previous two films. However, the lengthy running time is also loaded with flashbacks galore. These various blasts from the past establish character development in both heroes and villains, while also providing context for many twists that unfold. Though a few revelations are easy to call in advance (screenwriter Leigh Whannell admitted that he didn’t try too hard to keep these secrets hidden), the fiendish finale stacks twist upon twist.

Most of the conclusion’s twists lead to devastating consequences which changed the direction of the series forever and serve as my justification for why SAW should have been left as a trilogy. Other plot points strain credibility as things just happened to work out in a certain person’s favor and a couple of coincidences are a tad too ridiculous. I’m mainly speaking about the final two minutes which end on a cliffhanger that’s never quite resolved in a satisfying manner (in both SAW IV and SAW V). This last-minute twist also slightly undoes the emotional journey that the main character spent the last two hours enduring.

SAW III’s traps are cool and totally impractical. The first two films maintained a sense of believability in Jigsaw’s deadly devices appearing like they could be constructed with scrap metal (reverse bear trap) or consisting of simple horrifying scenarios (a pit of syringes). SAW III’s traps are ridiculous. They’re undeniably cool, but still ridiculous. One scene involves decaying corpses a certain animal (which stands out as Tobin Bell’s favorite trap of the series) and is sure to make viewers heave a little queasy. The best trap is undeniably a reverse-crucifix, which originally began as device that folded its victim into a box until Whannell changed it. There’s also a gnarly scene of improvised surgery scene that delivers a shocking amount of realistic gore.

SAW III should have capped off the series as a gore-soaked trilogy. This third outing provides a surprising amount of emotion towards its antagonists, while attempting to flesh out its protagonists to varying degrees of success. Some of the twists are brilliant, while others seem too convenient and treat Jigsaw like an omnipotent god-like serial killer. The traps are a lot of fun, even though this is the point where Jigsaw’s games became pretty damn silly…even though they’re cool to see in motion. If you liked SAW and SAW II, there’s no reason why you wouldn’t dig SAW III. This is the last good film of the series for me, whilst the rest of the SAW sequels devolved into shameless cash-ins and convoluted continuity.

Grade: B

SAW II (2005)

Review by Derrick Carter

Running Time: 1 hour 35 minutes

MPAA Rating: R for Grisly Violence and Gore, Terror, Language and Drug Content

Directed by: Darren Lynn Bousman

Written by: Darren Lynn Bousman & Leigh Whannell

Starring: Tobin Bell, Shawnee Smith, Donnie Wahlberg, Erik Knudsen, Franky G, Glenn Plummer, Emmanuelle Vaugier, Beverley Mitchell, Timothy Burd, Dina Meyer & Lyriq Bent

A mere year after the success of indie horror hit SAW, a sequel was rushed to theaters just in time for Halloween 2005. Unlike most slapdash sequels though, SAW II doesn’t show any signs of being a quick cash-in and is one of those rare instances where a second installment improves upon its predecessor. The plot is more focused this time around, the traps are oozing with creativity and menace, and the ending somehow manages to pull the rug out from underneath the viewer in many surprising ways. SAW II is not only better than SAW, but also ranks as the best film in the longer-than-it-needed-to-be SAW franchise.

Set after the blood-splattered events of the first film, this sequel follows Detective Eric Matthews (Donnie Wahlberg) as he stumbles across the booby-trap-filled lair of the Jigsaw Killer. Once face-to-face with demented murderer John Kramer (Tobin Bell), Matthews comes to the horrifying realization that his son Daniel (Erik Knudsen) is currently trapped in one of Jigsaw’s sick games and he’s also now stuck in a game of his own. Elsewhere, Daniel and seven strangers awake in a fortified crackhouse that’s being pumped with nerve gas and eight antidotes are hidden in various death traps. However, the survival instinct of this new band of victims may be just as deadly as Jigsaw’s games.

One immediate improvement over the first SAW comes in SAW II’s performances. While the first film struggled with Leigh Whannell being an amateur actor and Cary Elwes coming off as laughably over-the-top during would-be emotional scenes, SAW II remedies its performances with much more believable actors and stronger dialogue. Some scenes do become a tad ham-fisted, mainly in Franky G’s performance as intimidating drug dealer Xavier. However, even Franky G’s acting is convincing for a most of the film. Erik Knudsen also does well as the youngest person stuck in the “Nerve Gas House” and Shawnee Smith makes a welcomed return to the series as former-Jigsaw-survivor-turned-player-once-again Amanda.

In the Jigsaw’s Lair storyline, we get a battle of wits and wills between Donnie Wahlberg’s detective and Tobin Bell’s serial killer. Their constant banter is especially fun as Bell milks bits of dark humor for all they’re worth and enjoys toying with Wahlberg’s already dire mental state. Their exchanges are just as entertaining and suspenseful as the gory carnage occurring in the Nerve Gas House, so that’s really saying something. Both characters return for later installments in the series and it’s easy to see why. Their performances breathe life into material that may have wound up overly clichéd in other hands.

SAW II’s dual structure does a remarkable job of balancing the two different storylines. The 95-minute running time flies by and never once comes close to overstaying its welcome. Much like the first film’s nightmare-inducing conclusion, SAW II’s ending is packed full of surprises and startling revelations. This film builds one twist on top of another and it all checks out completely, with any possible plot holes being easily filled in by quick flashbacks revealing the clues that were stored early on.

The film’s overall look is atmospheric and gritty. The crackhouse setting makes the viewer feel dirty from just looking at it and the design of Jigsaw’s lair looks like someone cranked their love for John Doe’s apartment in SE7EN up to the extreme. The editing is a bit too chaotic during intense moments, especially one scene near the end that would have been more effective if the camera wasn’t spinning around an act of self-mutilation like a flashy music video. Therein, lies my only big complaint with this sequel.

Last but certainly not least, SAW II’s traps are fiendishly creative and believable. There’s nothing that’s nearly as over-the-top as later films in the series and these simple devices are the most effective. Something like a gun-attached to a door or a spike-filled rendition of a Venus Fly Trap are sure to freak viewers out and delight gore-loving horror fans. One scene that made me wince as a teenager and still makes me wince as an adult is a twisted spin on the phrase “finding a needle in a haystack” that sees a character crawling through a pit of used syringes to find a key. The entire sequence is pure nightmare fuel and may be the single most terrifying creation in the SAW universe (which is really saying something).

With diabolical twists and fiendish traps galore, SAW II is hands-down the best film in the SAW franchise. This sequel improves upon everything that was irksome about its 2004 predecessor. The acting is better and the script is constructed in a way that keeps its hooks sunken into the viewer. There’s actual suspense and the chilling conclusion is bound to keep you thinking about it long after the credits have rolled. Before the series publicly devolved into the torture-porn punchline that it is today (with progressively ridiculous continuity and an eighth film arriving this Halloween), the first three SAW films hold up as a damn fine horror trilogy and SAW II is the biggest highlight of the entire series.

Grade: B+

SEED OF CHUCKY (2004)

Review by Derrick Carter

Running Time: 1 hour 27 minutes

MPAA Rating: R for Strong Horror Violence/Gore, Sexual Content and Language

Directed by: Don Mancini

Written by: Don Mancini

Starring: Brad Dourif, Jennifer Tilly, Billy Boyd, Redman, Hannah Spearritt, John Waters & Jason Flemyng

1998’s BRIDE OF CHUCKY delivered a refreshingly different tone in the long-running CHILD’S PLAY franchise. The follow-up to BRIDE, 2004’s SEED OF CHUCKY, cranks that over-the-top approach to already silly material up to the friggin’ extreme. SEED takes adds an ultra-meta tongue-in-cheek layer and gross-out sexual humor onto the horror-comedy execution. This results in the fifth CHUCKY flick being quite the unique beast in the series, while occasionally suffering from flaws that don’t work and pacing that drags in spots. There’s something special about a slasher flick that showcases its main killer going through domestic drama.

A big Hollywood movie is in production that features the now-animatronic Chucky (Brad Dourif) and Tiffany (Jennifer Tilly). The infamous plastic couple aren’t the only killer dolls around because Tiffany gave birth to a sharp-toothed offspring at the end of the BRIDE and that doll child is named “Shitface.” After Shitface (Billy Boyd) escapes from an evil ventriloquist (Keith-Lee Castle), he arrives at Hollywood and resurrects his parents. Desperate to inhabit human bodies, Chucky targets rapper Redman (played by Redman himself) and Tiffany eyeballs actress Jennifer Tilly (played by Tilly herself). All the while, poor biologically incorrect Shitface is searching for his gender identity (as son Glen or daughter Glenda) and winds up stuck in the middle of his dysfunctional family’s murder addiction.

SEED OF CHUCKY is the point of the franchise where CHUCKY doesn’t take itself seriously in any way, shape, or form. Sure, BRIDE OF CHUCKY was a rom-com told through a slasher lens, but it still had a semblance of continuity to it and tied itself in with the rest of the franchise. SEED is pretty unclear as to what universe this plot even takes place in, because there are mentions of the cemetery from the last movie and an amulet that was left in Shitface’s possession (somehow). That’s about all the continuity the viewer gets. SEED functions on the viewer not asking to many questions and simply sitting back to enjoy the crazy ride.

Indeed, SEED gets crazy. There’s the constant self-mocking of Jennifer Tilly in her performance as herself and the overly critical Tiffany (who looks up to Tilly as a role model and gets a rude awakening from the actress’s slutty actions). You have to commend Tilly for being willing to make fun of herself in such a ridiculous manner and SEED’s self-degradation towards her hasn’t stunted the actress’s desire to return the role of Tiffany for future roles in the series (popping up as a cameo at the end of CURSE and filling a bigger role in the upcoming CULT). Tilly arguably steals more of the show than Dourif’s expectedly entertaining vocal role of Chucky.

Speaking of which, Dourif is at his funniest as the domesticated version of Chucky. The script revels in the absurdity of placing a slasher killer into everyday family life. That’s what’s so special about the CHUCKY series as a whole. You never see Jason Voorhees, Freddy Krueger, Michael Myers, Pinhead, or the various incarnations of Ghostface saddled with an angry wife and gender-fluid kid, or dealing with the struggles of dysfunctional family melodrama. You see all of this goofiness with Chucky. Dourif elicits lots of laughs as a result and is especially funny during a later meltdown scene. You see Chucky and Tiffany watching TV in bed together and we see Chucky taking Shitface/Glen/Glenda out on a “hunting” trip that results in one of the weirdest (yet oddly satisfying) cameos in the series. SEED is one hell of a strange slasher flick.

As newcomer Shitface/Glen/Glenda, Billy Boyd (who played Pippin in the LORD OF THE RINGS trilogy) lends his voice to the gender-fluid doll child. Shitface’s decision of choosing between the identities of Glen or Glenda remains strangely relevant in today’s political climate of transgender people being more open, whilst also serving as a deliberate nod towards one of director Ed Wood’s best known bad films. The rest of the supporting cast features Redman mocking himself, John Waters (who’s admittedly an avid fan of the series) plays a paparazzi scumbag, Steve Lawton as Tilly’s lovestruck limo driver, and Hannah Spearritt receives one of the film’s best scenes (a confusing phone call with both Tilly and Tiffany) as Tilly’s publicist.

SEED OF CHUCKY has plenty of solid jokes, but noticeably lacks in the kill department this time around. There’s a body count of about six people and only four of those moments really stick out in memorable ways. While those notable kills are fun, they’re over quicker than expected and don’t really milk the gory fun that BRIDE celebrated. Other kills are regulated to dream sequences and a fake movie scene (featuring a cameo from Jason Flemyng for some unknown reason) and these fake deaths feel like a waste of time. Another big complaint is that SEED almost wears out its welcome around the hour mark. Many funny moments elicit laughs, but a handful of references are tired and stale. One scene (in the finale) contains both a nod to THE SHINING and a lame homage to THE MATRIX that is more stupid than funny.

SEED OF CHUCKY is easily the weirdest installment of the CHUCKY series and will likely remain that way. This slasher sequel is ultra-meta, campy beyond belief, and not meant to be taken seriously in any way, shape, or form. It suffers from dull moments, certain jokes that fall flat, and a distinct lack of great kills. However, SEED also gives us a “family life” look at a slasher killer that elicits laughter from its premise alone and revels in the absurdity. I am glad that the sixth installment (the far better-than-expected CURSE OF CHUCKY) took the series back to an effectively creepy note and established strong continuity that ties everything together, but SEED is ridiculous fun for what it’s worth.

Grade: B-

BRIDE OF CHUCKY (1998)

Review by Derrick Carter

Running Time: 1 hour 29 minutes

MPAA Rating: R for Strong Horror Violence and Gore, Language, some Sexual Content and brief Drug Use

Directed by: Ronny Yu

Written by: Don Mancini

Starring: Brad Dourif, Jennifer Tilly, Katherine Heigl, Nick Stabile, Alexis Arquette, Gordon Michael Woolvett, John Ritter, Lawrence Dane & Michael Louis Johnson

In 1988, CHILD’S PLAY introduced the iconic killer doll known as “Chucky.” Though CHILD’S PLAY 2 and CHILD’S PLAY 3 were fun follow-ups to that first slasher flick, they were both a step below the original. Ten years after its creation, the CHUCKY series returned to its former quality 1998’s BRIDE OF CHUCKY. This fourth installment had a distinct change in tone from previous CHUCKY entries. While the pint-sized plastic serial killer had previously made goofy quips and cheesy one-liners in the past, those pieces of humor are nothing compared to the deliberately over-the-top nature of BRIDE OF CHUCKY. This is straight-up horror comedy that has loads of laughs, some of the best kills in the series, and also pays homage to old school Universal monster movie BRIDE OF FRANKENSTEIN. To put it quite bluntly, BRIDE OF CHUCKY is one of the best films in the consistently entertaining CHILD’S PLAY series.

A few months after the events of CHILD’S PLAY 3, long-deceased serial killer Charles Lee Ray’s former girlfriend Tiffany (Jennifer Tilly) collects the bits and pieces of his Chucky doll form. With a little black magic and lots of stitches, Tiffany puts Chucky back together and brings him to life once again. However, things don’t quite work out as planned because Tiffany winds up dead and her soul is thrown into a female doll. As a result, Chucky and Tiffany road trip to Charles Lee Ray’s grave to recover a voodoo amulet that can transfer their souls into human hosts and they’re eyeballing naïve young couple Jesse (Nick Stabile) and Jade (Katherine Heigl) as potentially nubile new bodies.

BRIDE OF CHUCKY is far more clever than most folks might expect. Series creator and constant screenwriter Don Mancini structured his fourth CHUCKY installment as a romantic comedy with killer dolls and gory kills. This means that there are lots of misunderstandings that lead to funny hijinks alongside a developing relationship between couples Jade and Jesse…and Chucky and Tiffany. The way that these subplots weave in and out of each other is pretty damn entertaining to watch. There are also long awkwardly humorous moments where Jade and Jesse suspect each other of possibly being a serial killer, because bloody corpses are left in their wake. This is all very reminiscent of Bonnie and Clyde…but with killer puppets, voodoo, and doll sex (yes, you correctly read that last bit).

To boot, BRIDE OF CHUCKY is directed in a fast paced manner that has plenty of style. The entire film looks slick and there’s a creepy atmosphere to it, even though the events are as ridiculous as you could possibly imagine from the film’s premise. Director Ronny Yu later went on to take the reigns of the long-anticipated FREDDY VS. JASON (another very fun slasher sequel) and his early sense for gory giddiness was showcased here. BRIDE’s soundtrack is also phenomenal with lots of rock and metal from groups like: Rob Zombie, Monster Magnet, Kidneythieves, Slayer, Stabbing Westward, Motorhead, Judas Priest, and more. This is one of the few movie soundtracks that I went to the trouble of purchasing during my teenage years and the rockin songs are incorporated in ways that perfectly jive with the film’s flow.

Brad Dourif is especially fun as Chucky in this fourth go-round, because he’s given extra room to goof off and kill to his heart’s content. The animatronics on Chucky (and Tiffany) are amazing and make you feel like you’re watching an actual performance…when it’s just one big bloody puppet show. It’s also worth noting that Chucky’s stitched-up, mutilated look is far nastier and cooler than his early clean-cut “Good Guy” appearance. Jennifer Tilly is perfectly cast as Chucky’s love-interest Tiffany. This colorful antagonist is a sadistic serial killer who finds a role model in Martha Stewart and maintains a sensitive side. The chemistry between Dourif’s Chucky and Tilly’s Tiffany is believable as these two psycho killers seem (literally) made for each other, resulting in lots of laughs and an ever-changing relationship dynamic. Also, there’s doll sex (which paves the way for 2004’s comedic SEED OF CHUCKY).

As far as the human characters go, Katherine Heigl is the biggest name here and this role was very early in her career. Heigl is fun as Jade, while Nick Stabile (who hasn’t been in many movies since this debut performance) is convincing enough as Jesse. The story’s main focus is on Tiffany and Chucky, whilst Jesse and Jade happen to be unwittingly stuck in the middle of the doll couple’s road trip/killing spree. The rest of the victims, er…I mean supporting characters, are all fun in their small bits of screen time. We get corrupt cops, a pair of swindling swingers, an over-the-top annoying goth, and a few more. There’s also a stoner (who regrettably doesn’t get offed) and he delivers one of the funniest scenes in the film.

As for the kills, BRIDE OF CHUCKY far excels above its predecessors. There’s loads of creativity thrown into each demise and specific scenes pay homage to past horror classics. From a darkly comedic electrocution set to BRIDE OF FRANKENSTEIN playing on the murder weapon (a TV) to a literal blood bath and one hilarious nod to a certain Clive Barker flick, horror fans are bound to have a great time in watching Chucky “getting lucky” (according to the poster’s tagline). BRIDE OF CHUCKY clearly wasn’t meant to be taken seriously and winds up as a very fun slasher sequel as a result. The 89-minute running time flies by and CHUCKY fans (who enjoy the goofier side of this already silly series) are sure to have a blast watching BRIDE!

Grade: B