WATCH THE TRAILER HERE
First, the Recap:
Curses. Not precisely something one would want to see themselves having to deal with on ANY level. The harbingers of often VERY bad luck, and far scarier happenings with dreadful consequences when taken head on in attempts to be RID of them, the aim to still AVOID anything of this nature remains quite inherent within us. However, when one DOES encounter such shady and dire portents, made worse when there’s an accompanying physical antagonist attached, what DO you do?? Bryce (Robert Baulderstone) has the “good fortune” (NO, not at ALL, actually!) of facing such a plight, thanks to the presence of a cursed doll named Toby (voiced by Chris Campbell & Ryan Casey). With the aid of his best friend Alfie (Emily Isabel Norton), will Bryce be able to disencumber himself from this terror–or pay an even larger price instead?
Next, my Mind:
“Child’s Play” gets an abbreviated but highly effective and fully entertaining indie film makeover/reinvention thanks to the diabolical (just kidding!) cinematic machinations of writer/director/executive producer Naomi Bird, producer/executive producer Jarrod Coslovich, executive producer Diana Thomson, and executive producer/cinematographer Rose Newland which carries the same degrees of darkly comedic horror as its apparent influencer but with the independent spirit driving it home in adeptly presented order. Chucky would have been so fortunate to have this effort’s cursed doll’s looks (think himself mixed with–Groucho Marks and a dark-haired Einstein??) and mischievous swagger (plus that LAUGH!! Yikes!) that makes appearances only when necessary and still manages to elicit enough creepiness AND wittiness to the atmosphere while you sit there and realize “Heeeeeerrrrrreee’s TOBY!!” is echoing through your brain!
In all seriousness–or maybe not–the narrative that follows a young man whose life has been absurdly upended by the presence of a fiendish poppet that’s making his existence nothing but a tedious exercise in aggravation and a constantly unnerved state of mind that demands it be STOPPED at all costs, the film has no time to waste in hitting you right from the start with a scene that simply BEGS to be explained–and then is–initiating our nervous chuckling and inquisitive minds signaling that we too want this basically annoying monster deceased by any means it takes. It’s frankly a very unassuming tone in spite of the circumstances, and the film never even attempts to BE anything else other THAN what it is, which serves it best and allows for the utter insanity of it all to be taken in stride and appreciated, as opposed to feeling like you’re watching yet ONE more genre cliché or, in this case, “Child’s Play” copycat at work. An ODE, yes, but still original enough.
Another factor that causes the film to stand out IN the grander genre it is representing is the the focus on both nutty (but again, dark) humor and more psychological terror as opposed to just the “buckets of blood” approach which I personally don’t like. Even as the narrative hurdles forward with abandon as a seeking for resolution to the issue at hand gets fleshed out, it manages to engage you in its aforementioned “serious” AND silly demeanor while assuredly making one NEVER wish to attend a marionette show EVER again, culminating in a finale that DOES push you into the horror realms, but not so drastically that it might lose those, like myself, who just don’t want to be BATHED in the red stuff every frame. There’s an underlying but abiding satirical note to events as well, honing in on more generalized thematic turns that address why it’s never good to mess with forces you don’t understand, think that we can control such things, believing in the non-sensical to be rid of it, our skepticisms, leaning on friends “in the know”, how NOT to keep a date occupied, what NOT to attempt at a party, and that events may not at all turn out the way you desired.
This is all explored enough to make the narrative a decidedly cautionary tale, but still remaining on the greater facetious side of perspective and certainly allowing for the potential to see a return to this particular adventure in the future. One could almost argue this was a proof-of-concept short, even though it is wholly self-contained and clear in its intent via how it does resolve for us as the viewers. Additional and perfectly placed enhancement to the amusingly sordid tale is accomplished through the effort’s apropos music score from rising star Quinn (also go see her at her website!) and the use of the song “Flutter” by Druid Fluids. Baulderstone is all flustered energy, often deadpan in his comedic delivery, and just a portrait of an everyman in direly extraordinary circumstances through his role as Bryce, a soul in search of peace and release from the most awful of cursed items he’s now in possession of–a doll named Toby. Consistently having to take every chance to keep his life in SOME semblance of balance and sanity while keeping this “child” at bay.
Once he manages to be open to the mutual attempts by his best friend to be free of Toby, it soon becomes apparent that dumping evil just isn’t that easy. I applaud the way in which Baulderstone carries himself as this character, for it’s just so relatable (well, hopefully not via THESE actual events, of course) and undeniably hilarious to watch the actor embody this poor sap who wants a NORMAL daily routine again. Norton is likewise a full-out bundle of endearing and authoritative vim and vigor through her role here as Alfie, Bryce’s longstanding best friend and a girl on a mission when it comes to helping ensure he no longer has to deal with his unwanted houseguest. The means by which she tried to assist him IN this process are met with deep amounts of doubting from him on top of, well, simply failing until she finally convinces him there’s only one way to choose. Whether this actually works out or not will be the mystery, and throughout, Norton infuses her own deft style of mirth and raw bravado that is infectious and not able to be ignored, which of course is a total credit to the actress’ abilities.
Supporting turns are made here first by Angela Zhou as Mia, a young woman whose interest in Bryce is quite obvious and potentially long-lasting–until arriving at his place and their evening is unceremoniously, embarrassingly, and irritatingly interrupted. Tahlia Crinis and Sheokand Sahab appear as two local police officers sent to check on the welfare of Bryce’s (supposed!) “kid”. Treat Thistleton, Alana Sharply, Drue Bennett, Cassie McCartney, and Melinda Sloan are part of a “cult” of druids whom may hold the key to Bryce’s troubles. Additional appearances are made by Samuel Barbas, Peter Chidiac, Fumi Endo, Chris Campbell, Siobhan Wilde, Archie Ward, Jarrod Coslovich, Naomi Bird, Ari Tam, Tamarah Bradley, Joel Muchlismmer, Morgan Edmunds, Charlotte Bromley, Nikolina Bazdaric, Archie Ward, and Ryan Casey (who along with Campbell have QUITE the time laughing maniacally and hilariously as Toby!). So, in total, “Toby” pays homage to horror comedy classics while maintaining its own identity, illustrating the dangers of messing with bad mojo, having to be open to possibilities beyond our norms, accepting ritual to be liberated from sinisterly persistent objects, some friendships should STAY buried, and that you STILL might NOT be able to keep a good psychopathic doll down.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
