Andy Barclay has been placed in a foster home after the tragic events of the first film, since his mother was committed. In an attempt to save their reputation, the manufacturers of Chucky reconstruct the killer doll, to prove to the public that nothing was wrong with it in the first place. In doing so, they also bring the soul of serial killer Charles Lee Ray back to life. As Chucky tries to locate Andy, the body count rises. Will Andy be able to escape, or will Chucky succeed in possessing his body? Written by
The scene when Andy picks up Tommy that is really Chucky and opens up the battery and finds batteries inside is similar to the scene in the original Child's Play film, where his mother pick up Chucky and opens up the battery compartment and finds it empty. See more »
After Chucky discovers he is trapped inside the doll's body he blames Andy for avoiding him but even if Chucky had managed to perform the chant in Andy's bedroom or the classroom as well as the basement the chant still wouldn't work as Chucky had spent 2 years in the same doll's body that got destroyed in the previous film. Had Chucky's soul been transfered to another Good-Guy doll as it was the case in the next film Chucky would presumably had been more successful. See more »
[Approaches the Good Guy doll who reminds him of Chucky]
I hate you.
[In a Good Guy voice]
Hi, I'm... Tommy, and I'm your friend to the end! Hidey-ho! Ha, ha, ha!
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Since his mum has been committed, Andy Barclay finds himself being placed with a foster family Phil and Joanne Simpson. To get an idea of what had happened with their doll; Play Pal toys decide to rebuild Chucky to prove there's nothing wrong with it. Although a freak electrical current kills one of their employees and revives the doll. Knowing that he has to get out this body, Chucky goes about trying to locate Andy, so he can transfer his soul into his body.
The lovable, foul-mouthed good guy doll is back at it again in this far from surprising sequel spawned by the original's success. Old habits die young in this basically unnecessary no frills retread of the original film. Actually, the horrifying thing is that I don't mind this effort. It's still my favourite sequel of the series, just ahead of "Bride of Chucky". Directing his debut feature with plenty of verve and focus happens to be John Lafia (co-writer of the screenplay for Child's Play), who ups the ante in mostly every department. There's more hectically nervy mayhem, spur of the moment thrills and rather a mean spirited vibe worked in. Chucky's one sadistic little monster here and it seems to exploit its premise for the sheer of it. Popping up are many amusing moments that are plain rib tickling and a few unexpected splashes of suspense. The nastily inspired and glaring death scenes are well thought out. Time breezes by because of tight pacing and crisp editing. The silliness of the concept is simply taken to the extreme with constant use of smarting one-liners and devilish puns. The tongue is heavily planted in cheek within its jest-like tone.
Written again by original creator Don Mancini. The straightforward script nicely rounds off what had happened to the major players of the first film and how Chucky was resurrected. After that it goes for a basic stalk and slash formula with more blood and violence to cover up systematic gimmick. Instead of the icy cold Chicago downtown setting this time Mancini decides to go suburbia on this foray. While, it's cliché bound and everything about this one looks plastic. It's commendably made production with a glossily bright tinge to the set designs (like the surreal-like toy factory). The slick photography by Stefan Czapsky is lithely orchestrated and Graham Revell's ominous sounding music score hits all the right chords. Kevin Yagher's animatronics creation of Chucky has advanced a little more with refined detail and zeal developments. The face and body movements seem a bit more flexible.
Who gave this doll life was the ultra-cool and memorably wicked vocal performance of Brad Dourif as Chucky. It became Dourif's definite trademark role. Alex Vincent returns and isn't particularly that convincing in a stiff performance as Andy. Gladly it doesn't do any damage, but only enhances the traumatic angle they are going for. Having the same person playing the role added some continuity though. Adding a professional touch to this b-grade fluff were the likes of the always elegantly classy Jenny Agutter and ripely formal Gerrit Graham were likable as the foster parents Joanne and Phil Simpson. Christine Elise is fittingly strong as the delinquent teen Kyle. Also there are minor, but decent performances by Grace Zabriskie, Beth Grant and Greg Germann.
The novelty isn't a complete waste, but if you take the unbelievably illogical premise and the unpleasant nature with a grain of salt. There's sure entertainment amongst this nonsense that doesn't pretend to be anything else.
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