Cult of Chucky (2017)

To get the most from the seventh film you'll need to have seen the previous six. In lieu of a full explanation, it's self-referential and reliant on knowledge of past characters/events. (It also references other 'horror' films in fun ways.)
It takes place inside an asylum for the criminally insane, so the usual 'nut-house' stereotypes are there, but they're put to good use. There's an ominous build-up and a steady pace, with enough teasing to keep us anticipating the next Chucky scene, and a wicked symmetry adds weight. But in attempting to fit a lot of series history into the plot, it may feel too much like fan-service at times. The final twenty minutes aren't as good as what came before and do feel somewhat unfinished. Once again, look out for a post-credit scene.

3 doll parts out of 5

Fear Clinic (2014)

After a traumatizing shooting at a diner, surviving patrons begin to put their lives back together with the help of one man's groundbreaking therapy. But when their fear makes a comeback in the form of lifelike hallucinations, they find the regarded clinic and doctor in shambles. The story builds well at first as each patient's unique fears are pinpointed in the spooky-looking Fear Chamber. A sensory-deprivation device which really would inspire nightmares more than solace. Horror veteran Robert Englund does a fine job in a savior-like role of the haunted Dr. Andover. He especially plays well off the over-inquisitive patient Sara (Fiona Dourif). The events in the latter half of the film were promising but pivotal exposition seemed to be missing in more than a few scenes, leaving a puzzling conclusion.

2 slipknots out of 5

Curse of Chucky (2013)

Creator of Chucky, Don Mancini, takes the series back to its roots with fewer laughs and more horror in the sixth instalment. There's still humour but it's very, very dark. The problem with that approach is that the viewer responds by taking the film more seriously and it becomes harder to differentiate it from all the other horror sequels shat out every year.
The first half of the film is perfect in every way, Mancini's direction is flawless, the build up is superbly paced and the characters well-defined, but it seems to lose its impetus as it nears the ending. Brad Dourif's voice work makes the killer doll not just wicked but a vehemently evil, nasty piece of work; he really is brutal this time. There's also fine work from Brad's daughter Fiona. If she doesn't end up typecast, she could go on to great things.

3 bowls of roulette chilli out of 5