Puppet Master: The Littlest Reich (2018) Review

Puppet spoilers ahead.

At a small-town convention a man looks to sells his brother's puppet linked a murder 30 years earlier but all hell breaks loose when an ancient evil animates the other puppets and sends them on a bloody killing spree.

Directors Sonny Laguna and Tommy Wiklund's offering, Puppet Master: The Littlest Reich is head and shoulders above many of the original sequels. Even if from the producers of The Meg and Bone Tomahawk, based on Charles Band's beloved cult horror The Puppets Master (which sadly when straight to video in 1989), this reboot sadly lacks that cinematic production values or execution the long term remake/reboot/reimagining hardcore Puppet Master fans had hoped for. It sounded like a VHS horror fanatics dream, and it almost is, redeemed by some well executed and eerie puppet effects and a strong bloody latter half.

Even though lacking finesse there's plenty of enjoyable blood, make-up effects, puppet designs and nods to the series to at least perk an interest, even if some of the addition puppet characters are as forgettable and hooky as the 1980-like T and A on display courteous of Jenny Pellicer and Kennedy Summers to name just a few. That said, the redesigned classic puppets (although not all present) are greatly welcomed. Most of the beloved puppets appear, Blade, Torch, Tunneller and Pinhead respectively. Also no one can fault the Richard Band's excellent theme and horror legend Fabio Frizzi's (Zombi, The Beyond) new score.

Usually a bit part actor Thomas Lennon is on fine form here as lead comic store owner and artist Edgar. The cast are solid enough. Notable are Michael Paré, an unrecognisable Udo Kier as Toulon and Barbra Crampton in a perfect role as a cop' turned tour guide. Memorable is actor Skeet Jenkins (Cuddly Bear) who sets up a brief humorous post credit's scene.

S. Craig Zahler's delivers an enjoyable screenplay which works best when being played on the nose with surprise deaths. Story wise it's a rework of Charles Band's original, reminiscent of the evil Toulon shindigs of part two, echoing an Assault on Precinct 13 vibe in the more impressive final act where Laguna and Wiklund shine. Credit to Zahler the narrative, opening in 1989 then moving to present day, which thread hark backs to World War II (of the 3rd installment) throughout gives it some freshness, weight and mystery, the idea of multiple puppets also works in its favour.

While not the sharp big budget production fans had hoped for, it's a horror gore step in the right direction. Hopefully with zombie Toulon walking into the moonlight in the closing will give the series a resurgence.