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[Overlook Review] Unapologetic ‘Puppet Master: The Littlest Reich’ Delivers Bonkers Gore and Offensive Humor!

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Before the world premiere of Puppet Master: The Littlest Reich at the Overlook Film Festival, producers Dallas Sonnier (new owner of Fangoria) and Amanda Presmyk took to the stage to give a brief introduction, not that these beloved pint-sized terrors really needed any introduction. Sonnier chuckled as he revealed the only bit of information that audiences would ever need about this reboot; thanks to S. Craig Zahler’s (Bone Tomahawk, Brawl in Cell Block 99) script, this film was guaranteed to be unrated, because it will never pass as an R-rated film. The film absolutely lived up to this assessment, delivering a crowd-pleasing rowdy time so bonkers in its gore and offensive humor that it tops nearly everything about the beloved Full Moon franchise.

The film opens in Postville, Texas, in 1989, with a heavily scarred Andre Toulon (Udo Kier) traipsing into a bar and delivering deadpan dialogue that would set the politically correct police in a tizzy. After offending the bartender by inquiring her hooker fee, he leaves in disgust when he learns she’s a lesbian. Of course, this means that the bartender and her lover become the film’s first victims to Toulon’s puppets, and the film establishes early just how gruesome their kills are going to be. After the open, the film switches to the present, with Thomas Lennon’s Edgar, a comic book artist and writer, picking up the pieces from a divorce. Rediscovering his brother’s Blade doll after moving back home, he’s inspired to road trip to the 30th anniversary convention of the infamous Toulon Murders, with his new lady love Ashley (Jenny Pellicer) and boss Markowitz (Nelson Franklin) in tow. To say the convention derails quickly would be an understatement.

When you opt to watch a film titled Puppet Master, you’re in it for the puppets and their kills. The Littlest Reich manages to out-deliver both in volume of deaths and puppets than the Full Moon franchise’s entire catalog combined. This version of Toulon didn’t just stop at his one-of-a-kind handful, he made a huge catalog full as well as duplicates to ship worldwide. The convention setting meant the perfect place for the puppets to be brought back together, with a minimum of 45 deadly little Nazis to unleash their slaughter. Oh, so much glorious slaughter.

S. Craig Zahler has already established his uncanny talent for deadpan humor against extreme violence, and that’s taken even further with Sonny Laguna and Tommy Wiklund (Wither) at the helm. Even a horror staple, the severing of an Achilles tendon, tends to become somehow even more visceral through Laguna and Wiklund’s lens, and that’s saying a lot. The gore is so over the top and inventive that it manages to creatively introduce a lot of firsts to the series. None of which I’ll spoil, but suffice it to say that the Overlook audience spent much of the runtime cheering at the depravity on display and this is one you’ll want to see with a crowd. There’s also some deaths so bold that it will shock even a hardened horror fan.

The Littlest Reich delivers everything that should come with a reboot; a reverence for the original property, its own spin on the mythology, memorable new characters, and more special effects insanity than you thought possible. Lennon and Pellicer bring a grounded sweetness to the lead protagonists, and vets Michael Pare and Barbara Crampton imbue their straight-man authority figure roles with a nuanced humor that balances the zany antics of the anti-Semitic little killers. As great as the cast is, the true stars, of course, are the puppets, and this reboot won’t let you down there. Puppet Master: The Littlest Reich brings puppet carnage and mayhem to insane new heights, unafraid to break every single taboo along their quest to fulfill their Fuhrer’s bidding. Even if you don’t like the original Full Moon franchise, I have a strong hunch this will convert you. Unless you’re easily offended, that is. Puppet Master: The Littlest Reich will have you gasping, squirming, and laughing at the bold display of offensive humor and gore. Above all it will leave you asking, when can I get more?

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

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Matilda Firth Joins the Cast of Director Leigh Whannell’s ‘Wolf Man’ Movie

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Pictured: Matilda Firth in 'Christmas Carole'

Filming is underway on The Invisible Man director Leigh Whannell’s Wolf Man for Universal and Blumhouse, which will be howling its way into theaters on January 17, 2025.

Deadline reports that Matilda Firth (Disenchanted) is the latest actor to sign on, joining Christopher Abbott (Poor Things),  Julia Garner (The Royal Hotel), and Sam Jaeger.

The project will mark Whannell’s second monster movie and fourth directing collaboration with Blumhouse Productions (The Invisible Man, Upgrade, Insidious: Chapter 3).

Wolf Man stars Christopher Abbott as a man whose family is being terrorized by a lethal predator.

Writers include Whannell & Corbett Tuck as well as Lauren Schuker Blum & Rebecca Angelo.

Jason Blum is producing the film. Ryan Gosling, Ken Kao, Bea Sequeira, Mel Turner and Whannell are executive producers. Wolf Man is a Blumhouse and Motel Movies production.

In the wake of the failed Dark Universe, Leigh Whannell’s The Invisible Man has been the only real success story for the Universal Monsters brand, which has been struggling with recent box office flops including the comedic Renfield and period horror movie The Last Voyage of the Demeter. Giving him the keys to the castle once more seems like a wise idea, to say the least.

Wolf Man 2024

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