The Puppetman is streaming now globally on Shudder.
Synopsis
Evil pulls the strings and he’s chosen who’s next.
Review
Annabelle, The Candyman, Freddie Kruger… these are some of the urban legends who have become the staple of millions. Particularly at this time of year when horror becomes the go-to genre ahead of Halloween celebrations. Over the years Director Brandon Christensen Still/Born (Still/Born) had become an established name in the indie scene. Now with his latest film, The Puppetman, Christensen is attempting to tap in to the zeitgeist and create a new figure to stalk our nightmares.
Michal (Alyson Gorske) is a student as Buffalo State University, but she harbours a terrible past. As a child she was locked away in a cupboard, hidden from humanity until her father (Zachary Le Vey) brutally murdered her mother. That childhood trauma has led to Michal doing an abundance of ominous sleepwalking. Often drawing the same “III” symbol on to walls and windows in her own blood.
All these night time shenanigans have caught the attention of her roommate Charlie (Angel Prater). But whilst Michal thinks it’s their little secret it seems that Charlie has clued in gym-bunny boyfriend Glenn (Cameron Wong), potential love-interest Danny (Kio Cyr) and book-smart Jo (Anna Telfer). When the gang decides to stay behind in their dorm rather than head home for the holidays things really start to get weird and the titular Puppetman may be behind it all.
The first half of The Puppetman attempts to shrug off the spectre of predictability. Whilst it’s always clear that there’s something more going on with Michal, the script makes a concerted effort to world build. Each of the characters is well developed with individual voices and viewpoints. Something which your typical slasher is often prone to overlooking. We spend a liberal amount of time with them living their lives and understanding their interpersonal relationships. So when the killing finally starts there’s more of a connection there which helps the overall impact.
The second half of the film is when things get spooky. The kills come in relatively quick succession and each is pretty brutal. Christensen doesn’t hold back when it comes to just dispensing with anyone who gets in the way of… whatever it is that’s really behind all the supernatural goings on. But here is also where things get kinda sticky. The Puppetman introduces some genuinely alluring lore behind its supposed demonic possession. The murderous trickster-like Dolos adds a different dimension that pushes the film beyond the simple standard slasher. But somehow it also detracts from the idea that The Puppetman is a omnipresent villain like the aforementioned Candyman and Kruger.
Let’s start with the positives. Dolos does NOT like being messed with and dispatches his enemies with serious gusto. The Puppetman pulls no punches in melting faces, crushing skulls and taking kill-shots. The level of practical effects in the film is impressive, particularly for an indie project. Christensen and his creative team keep the film on track by never stretching the budget to breaking point. Camera angles, cutaways and filters all help to detract from any potential issue with the visual effects. Employing some old school haunting techniques, bumps in the night and seances, also helps to amp up the atmosphere.
The flip side is the inevitability of its ending. There is little meaning in the film’s conclusion. The reveal of what is perceived to be the big twist is truly predictable. It’s shocking yes. But it seems to exist purely as a plot device to tell the rest of the story. The truth of Dolos’ existence is simply accepted as fact with little context. Whilst The Puppetman does attempt to push beyond the boundaries of its twist, little time is spent on potentially compelling plot points. The early character development is overtaken by a race to the finish line which ultimately dilutes the film’s conclusion.
Verdict
The Puppetman is something of a mixed-bag. For all its insightful character development and supernatural intrigue there’s also predictability and inevitability. A strong cast and premise are hindered by short-sighted execution.
⭐⭐⭐
