Story of a childs faith,childrens toilet seat youtube,toddlers in tiaras full episodes online - Videos Download

13.06.2014
They may look like random doodles and smiley faces, but a new study suggests that children's drawings are an indicator of their intelligence -- and not just their current smarts but rather their intelligence later in life.
For the study, 7,752 pairs of four-year-old identical and fraternal twins were asked to draw a picture of a child.
When the researchers followed up a decade later, the same pattern was observed: kids whose drawings got high scores at age four tended to score higher on the intelligence tests at age 14. As far as guilty pleasures go, 'Child's Play' has somehow crawled its way onto my list of tolerably entertaining flicks, one that I can sit down and watch every so often without much change in judgment. So what the heck is it about the Good Guys doll which grabbed the attention of millions and spawned five sequels, including a comic book?
Other than the 'Bride of Chucky', the original installment of the franchise lingers in the memory banks of horror aficionados because of its surprisingly good and stylish direction. Although the first movie in the franchise is the furthest from a cinematic masterpiece and it didn't make a huge impact to the genre, it's sad nonetheless to see a direct follow-up make a mess of the storyline and take it in a weirdly cartoonish direction.
Interestingly, Chucky originator Don Mancini, who has written the screenplay for every movie in the series, including the latest installment, returns as the genius behind this unconventional sequel. Director John Lafia also embraces this drastic change in tone while at the same time designing some eccentrically spooky moments that at times border on a kind of cartoonish nightmare. Picking up eight years later after the sequel, Mancini pens a third entry to the series about Chucky's unhealthy obsession with Andy Barclay, but not without a few jabs at children's product marketing and dastardly corporate greed.
One murder involving marbles, darts and a red yo-yo later, a very frustrated Chucky (Dourif) quickly finds the whereabouts of a now 16-year-old, emotionally-troubled Andy (Justin Whalin). Director Jack Bender, probably best known for his work on the 'Lost' TV series, also does what he can to make the movie a tolerable watch. To celebrate the ten-year anniversary of Charles Lee Ray transferring his soul into a children's Good Guys doll, the filmmakers bring Chucky back from the dead with the help of a greedy cop, who steals the plastic toy from a police evidence locker where other horror icons have been retired. After a heated argument over a mistaken marriage proposal that ends with Tiffany inside another doll, the deranged couple goes on a killing spree looking for the perfect human pair to possess, except they're missing a special amulet to complete the ritual. Although the script written by Don Mancini follows the continuity of the series — supposedly picking up within a few months after the events of the last movie but made seven years later — 'Bride of Chucky' marks the point where the franchise embraces the silliness of its premise and becomes a dark horror comedy. Like Tiffany (voiced once again by Jennifer Tilly who also has a live-action starring role opposite, well, herself) trying to beat her addiction to murder and mayhem, I probably need to admit I have a problem and should join some 12-step program because I rather like this fifth installment. I suppose what ultimately sells part five for me is that last bit, making it an enthusiastically debauched feature that dives head-first into self-referential parody and cultural lampoon. I'm probably over-selling the movie, but as you can see, I find something worth enjoying in 'Seed of Chucky.' Its excessive and mostly imprudent silliness has me laughing, yet I can admit it's not up to the level of the others in the franchise. After a nine year slumber, Chucky originator Don Mancini takes his monster creation back to basics in this sixth and latest installment in the franchise — marking the first non-theatrical release in the series.
With excellent cinematography by Michael Marshall, Mancini also brings back that dark, sinister air of mystery and suspense long missing in the series since the first sequel went in the offbeat cartoon-like direction.
Set a few after the last film, Chucky's return has him back to his usual naughtiness of wanting to possess the body a child, which in this case is Nica's little niece Alice (Summer H. Warner Home Video brings 'Chucky: The Complete Collection' to Blu-ray in an attractive, shiny six-disc box. Going into the second installment, things start to improve as this AVC-encoded transfer looks slightly sharper and in better condition.
The 'Bride' walks down the aisle with another VC-1 encode that has its positives along with several noticeable negatives. The sixth installment in the Chucky series debuts to Blu-ray with an excellent AVC-encoded transfer.
Black levels are true and accurate with strong shadow delineation throughout, and contrast is spot-on with crisp, bright whites.
The first movie also arrives with an identical DTS-HD Master Audio soundtrack that exhibits some surprisingly good presence and separation. In the audio department, Universal has opted for a DTS-HD stereo soundtrack for the sequel, which is commendable since it's true to the original design. Chucky declares war on Blu-ray with a very amusing DTS-HD stereo track, displaying lots of detailed activity in the background and creating a nice, wide soundstage.
On the audio front, things improve slightly from the somewhat disappointing picture quality, but this DTS-HD MA soundtrack still lacks a bit of punch and oomph, especially in the low-end department. As in the video, part five makes the jump to the other format with a DTS-HD Master Audio soundtrack that really entertains, but the difference to its Dolby TrueHD counterpart remains negligible at best. The sixth installment in the Chucky franchise jinxes Blu-ray with a highly entertaining and surprisingly good DTS-HD MA track.
The music of Joseph LoDuca bleeds into the rears and satisfyingly envelops the listener while also broadening the fronts with an engaging and welcoming soundstage.
Audio Commentaries — The first track features cast members Alex Vincent, Catherine Hicks, and Chucky designer Kevin Yagher. The second commentary reunites producer David Kirschner with screenwriter Don Mancini and turns out to be the better of the two tracks. Chucky Commentary on Select Scenes — This really fun track gives Chucky an opportunity to talk about his various kills in the movie. Evil Comes in Small Packages (SD, 25 min) — The three part series takes an in-depth look at the production of 'Child's Play', featuring interviews of cast and crew while footage of the film is mixed in.
Chucky: Building a Nightmare (SD, 10 min) — This second retrospect is a closer look at the design and the animatronics involved in bringing the murderous doll to life. A Monster Convention (SD, 5 min) — Originally recorded at Monster Mania 2007, the Q&A panel discussion reunites Alex Vincent, Catherine Hicks, and Chris Sarandon.
The Making of Child's Play (SD, 6 min) — The vintage featurette is your basic, run-of-the-mill EPK piece, which functions purely for promotional purposes. Audio Commentaries — The first commentary track features director Ronny Yu mostly reminiscing on his experiences from the set, working with the cast and Don Mancini, and his creative process for making a horror comedy. Spotlight on Location (SD, 10 min) — Standard EPK featurette with the usual assortment of cast & crew interviews and BTS footage.
Audio Commentaries — Writer and director Don Mancini sits down for the first commentary track with puppeteer Tony Gardner, and you can easily imagine what that discussion is about.
Conceiving the Seed of Chucky (SD, 19 min) — A creative look back on the film and the franchise with Chucky, Tiffany and Glen playing hosts and performing interview duties with filmmakers. Family Hell-iday (SD, 4 min) — A pretty funny assortment of family pictures with Chucky, Tiffany and Glen.
Slashed Scene (SD, 3 min) — An optional commentary with Mancini and stuntwoman Debbie Lee Carrington is provided with this action scene that didn't make the final cut. Tilly on The Tonight Show (SD, 2 min) — A short skit with the actress showing glimpses of Romania for the late night program. Audio Commentary — Writer and director Don Mancini is joined by Fiona Dourif and Chucky puppeteer Tony Gardner. Playing with Dolls (HD, 16 min) — Typical EPK-style featurette with cast and crew interviews full of praise and zeal for each other while also talking about the plot and characters. Living Doll: Bringing Chucky to Life (HD, 9 min) — A really cool look at the design and making of Chucky along with BTS footage at the puppeteering and animatronics of the character.
Voodoo Doll: The Chucky Legacy (HD, 7 min) — A brief discussion on Chucky's lasting legacy as a horror icon while highlighting memorable moments from the movies in the franchise.
Storyboard Comparisons (HD, 25 min) — Four comparison scenes with brief introductions by Mancini. Twenty-five years later, the 'Child's Play' franchise remains a fun assortment of late-night flicks for an entertaining Saturday night.
All disc reviews at High-Def Digest are completed using the best consumer HD home theater products currently on the market. Founded in April 2006, High-Def Digest is the ultimate guide for High-Def enthusiasts who demand only the best that money can buy.
Each drawing was scored on a 12-point scale, with high scores going to drawings that realistically reflected eyes, nose, mouth, hair, arms, and other human features. The researchers also found that drawings from the identical twins in the study were more similar to one another than drawings from non-identical twins, which suggests the link between drawing and later intelligence is influenced by genes.
Arden said not to worry if you or your child isn't very good at drawing pictures of people. One thing I always point to is the unexpected franchise, which if truth be told is nothing more than a parody of itself, somehow changing the way we watch the darn movie. Not only does Tom Holland put the dark shadows to fine use and actually generates a eerie atmosphere, but he's also skilled at keeping the camera from revealing the many tricks-of-the-trade. While I wouldn't necessarily expect a repeat of part one, which frankly would have been worse, it would have been nice for the filmmakers to maintain the same creepy thriller atmosphere.
Right from the start, it's apparent he embraces the mindless, goofier aspects of his creation, reviving a literally burnt-to-a-crisp doll in a Frankenstein-like opener that's roll-your-eyes cockamamie and somewhat funny all at once. Chucky's attack of the school teacher (the wonderful Beth Grant) with a ruler is both dementedly creepy and over-the-top funny. Thinking it's recuperated from the publicity nightmare caused by the murders seen in the previous two movies, the Play Pals company takes a stab at re-launching their most popular toy line: the Good Guys doll. Turning this mischievous tale into a bizarre darkly subtle farce of Kubrick's 'Full Metal Jacket,' Mancini sets the plot inside a military boarding school where it's even more difficult for Andy to find anyone that will believe a doll is possessed by the soul of a serial killer.
Well, truth be told, Jennifer Tilly has more to do with Chucky's resurrection by stitching him back together and performing a voodoo ritual — which for some reason requires a satanic pentagram — inside her ornately-decorated trailer. The story suddenly turns into a road movie where runaway love birds, Jesse (Nick Stabile) and Jade (Katherine Heigl), unknowingly take the dolls to Ray's grave. Not only does it make references to James Whale's classic horror films, but it doesn't shy away from poking fun at itself when the occasion arises. I know the movie is largely a travesty and just plain stupid in several areas, but it also manages to entertain me, garnering various laughs throughout, as only guilty pleasures can.


Returning as writer and director, Mancini has Chucky revert to his original plan of action as a straightforward horror-action thriller, eliminating much of the dark humor seen in the previous movies although there a few moments here and there which are pretty comical.
Looking like he's gained a few pounds around the face, Chucky (voiced by Brad Dourif) arrives wrapped in a large box at the creepy Victorian house of paraplegic Nica (Fiona Dourif) and her mother, Sarah (Chantal Quesnelle).
Inside, we find a gatefold cardboard box with three, clear-plastic panels, each holding two discs, one comfortably sitting on top of another. Of course, the picture has its moments of hot spots, such as scenes involving lightning and fire, and it is generally on the softer side due to some intentional optical photography. Definition and clarity are an improvement over previous home video releases, revealing strong details in clothing, architecture, the surrounding foliage and the faces of actors. Of course, there's really no significant difference between the presentations, so to all intents and purposes, they're identical. Shot with the use of HD cameras, the video unfortunately comes with that sterile, digital and very unfilm-like quality which lacks character and doesn't feel very organic. However, there is a smidge of banding in the darker portions, which may not be blatant to most viewers but is there nonetheless. There is plenty of movement and commotion in the fronts, keeping the audience engaged at all times. Imaging feels broad and welcoming with excellent separation between the channels and surprisingly good clarity of background activity.
Movement between channels is smooth and fluid while vocals maintain intelligible clarity in the center. That's not to say the bass is missing; rather, it seems reserved for the bigger action set pieces while the rest of the movie lacks presence, even in the music of Graeme Revell.
In fact, they're pretty much identical, providing a good variety of discrete activity in the rears that generate an often satisfying and immersive soundfield. Although this is really more of a front-heavy presentation, the design does allow for several great moments of discrete effects in the surrounds. Dynamics and acoustics never really extend in the upper ranges, but the lossless mix maintains good clarity and is fairly detailed.
Although Vincent was recorded separately, his voice is spliced into the conversation between Hicks and Yagher - who fell in love during filming and remain married to this day.
The two men are surprisingly honest about their views of certain aspects within the film, particularly the voodoo portion and the plot's sillier moments. Regrettably, the track is scene-specific and clicking on this option will skip major chunks of the film.
The first segment, "The Birth of Chucky", discusses the story's genesis and how Don Mancini originally aimed for a psychological thriller. With some very cool behind-the-scenes footage interspersed throughout, the piece reveals the tricks of the trade and shows how certain scenes were made with the help of a stand-in.
Although an interesting watch, the piece is very short and most of what is discussed is known after going through all the other bonus materials. One neat thing though, the featurette shows a great deal of the special puppet effects that went into the making of the movie. Nevertheless, it's an interesting listen full of technical details about working with the puppets and the challenges they can present on set. The trio is quite enthusiastic and full of good humor as they jump right into discussing the casting, especially the story behind Fiona's involvement.
These little surprises of Chucky one-liners are the same found in the 20th Birthday Edition DVD. The original installment to the popular franchise, which also introduced Chucky to the world of horror cinema, was an unexpected surprise to the genre, successful enough to spawn five sequels and turning a maniacal doll possessed by the soul of a demented serial killer into popular horror icon.
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The children were also given verbal and non-verbal intelligence tests, and the kids whose drawings garnered high scores tended to score higher on the intelligence tests.
It's not as if the movie about a doll possessed by the soul of a serial killer has any true redeeming value whatsoever. Most interesting is the way in which the movie tapped into the strange cultural phenomena of children's toy marketing of the 1980s.
Instead, the sequel turns the concept of a doll possessed by a serial killer — granted, that does sound incredibly silly — into a more straightforward "slasher" flick mixed with a good amount of wacky goofiness.
Reassembled from new body parts and jolted back to life by a freak electrical accident, an energized Chucky is more determined than ever to transfer his soul into the body of little Andy (Alex Vincent). The movie's highlight is undoubtedly at the Good Guys assembly line factory as the screen fills with an array of bright, bold colors while all sorts of gruesomely twisted mayhem ensues. In what is arguably the best opening titles sequence of the franchise, Chucky's mangled and melted body is lifted from the assembly line floor, blood dripping everywhere, including a fresh cauldron of liquefied rubber.
But when the younger Tyler (Jeremy Sylvers) finds the Good Guy first, this adds an interesting twist to Chucky's original plan, forcing Andy to the position of hero rather than a relapse into helpless victim. He brings a good pace to the narrative and injects it with a few decent, moody moments, though they are mostly standard genre tropes and camerawork.
Tilly plays Ray's former girlfriend Tiffany, a demented woman with a disturbing fascination for death and murder who's been scouring the country in search of the doll for the last decade. Adding good amusement to the journey about not knowing the person you love until you actually live with them is the clueless pair thinking the other is guilty of murder as corpses keep piling up around them. Chucky is also given a new look, the face which has pretty much become the staple of the franchise.
It's a bonkers, twisted horror comedy which I revisit every once in a while, just to see Chucky run Britney Spears off the road or hear Tilly make fun of her acting career. That, and the awesome, memorable death scene of John Waters as an annoyingly creepy paparazzi.
Audiences are reminded once more that an otherwise innocent-looking doll is in fact possessed by the soul of the viciously diabolical serial killer Charles Lee Ray, and he's ready to play "Kill All the Adults" with a gullible child.
The original sender of the package quickly becomes a guessing game of sorts as viewers try to determine who and why, especially after over-protective mom is stabbed in the chest later that night. She's at the house for grandma's funeral with her overbearing mom Barb (Danielle Bisutti), her dad (Brennan Elliott) and her live-in nanny Jill (Maitland McConnell). Each film along with relevant bonus materials are contained on six, separate Region Free, BD50s discs. Still, fine object and textural details are decent sharp, and facial complexions appear natural for the cold climate.
Close-ups are quite revealing, background information is plainly visible, and clothes display great textural clarity. Black levels are accurate for the most part with adequate delineation in the shadows, and colors are nicely rendered but fall a bit on the flat side. The movie's enjoyment is not completely ruined with thick, distracting halos, but the digital manipulation is bad enough to cause some annoying ringing around the edges and make much of the picture look unnatural. Fine object and textural details are very well-defined with discrete, sharp lines in the hair and clothing of all three dolls. The color palette is accurate and bold, but being a movie that mostly takes place indoors at night, they are also somewhat limited. Dynamics are not very expansive, nor do they reach the upper levels, but they are cleanly delivered and well defined. You can plainly hear the smallest, arbitrary piece of action in the distance discretely and moving across the screen convincingly. The musical score of John D'Andrea and Cory Lerios, of course, benefit the most from the jump into high-rez audio, exhibiting excellent orchestration and fidelity. The mid-range exhibits a similar issue with dynamics and acoustics that largely feel limited and heavily restrained in the higher frequencies. Although Pino Donaggio's score makes the best use of the surrounds, atmospherics like thunder adds some ambience. It's not always consistent, but the crashing of thunder and the sounds of pouring rain in the distance fill the room on various occasions, generating an amusingly dark and creepy atmosphere. The results are odd and obvious, but the overall feel of the track is entertaining, especially when focused more on the married couple. The discussion ranges from the drastic changes made in Mancini's original script, the attempt at creating a realistic setting, the musical score, and praise for the final product. However, it's enjoyable listening to Brad Dourif stay in character as Chucky examines and dissects his methodology throughout. It also includes some back story on David Kirschner's involvement, his pitch to studios, and the changes made to the script by Tom Holland.
Other highlights include the praise Kevin Yagher receives from the likes of Tom Savini, Alec Gillis, and Shane Mahan, which is all well deserved. The second conversation is much better since it features an enthusiastic and lively chat between Mancini, Brad Dourif and Jennifer Tilly. The second track is a more energetic chat between Mancini and Jennifer Tilly, which would probably make it the preferred track for some fans. From there, the group talks about the visual design and feel of the movie with Mancini pointing out the influences and other technical details.
But rather than placed in different areas of the disc, here they are all located in the Special Features section. The Blu-ray collection features a strong picture quality in all six movies with slightly better audio presentations.
Seriously, how much damage could a two-foot doll inflict upon a grown adult --- it's made of plastic and batting material for Pete's sake!


While the plot's creator Don Mancini has admitted to the Cabbage Patch Kids craze as a direct influence, I still like think the Good Guy doll possesses a striking resemblance to My Buddy or even a demented version of Teddy Ruxpin. A viewer's mileage will largely depend on their tolerance for a blend of darkly offbeat absurdity and standard genre tropes. After the events of the first movie, mom has been institutionalized and he lives in a foster home that includes a generously caring Jenny Agutter, a sympathetic big sister in Christine Elise and a cold, stony-hearted Gerrit Graham. Brad Dourif also returns as the voice of the maniacal doll, and honestly, he is the primary reason for watching any of the Chucky movies, including this somewhat disappointing but still watchable and twisted follow-up. Trick photography shows blood coursing and mixing with flesh-colored plastic as our favorite cheeky maniac is assembled into a new doll.
It's not enough to save the film as a whole, but it makes for a bearable story that finishes with an amusing haunted funhouse finale.
Unfortunately, his style must contend with flat, generic plot devices, such as the dull, humdrum Perrey Reeves providing an uninteresting love interest in the tough Kristin De Silva. John Ritter also makes a great cameo performance as Jade's corrupt police-chief uncle and falls victim to the best, over-the-top kill scene.
From commenting on Chucky's killing methods to at the time contemporary cultural jabs, the movie offers a variety of twisted laughs and humor, including a bizarre romantic moment between the two dolls while encouraging protection as a priority.
Julia Roberts should have made an appearance while Redman talks about his reimagining the Christ story like he was some sort of Mel Gibson. As our devilish plastic hero begins dispatching this unlikeable lot, which doesn't include Nica or Alice, Mancini nicely paces the killing spree with a patient, scary malice, having the doll run from out the shadows, the pitter-patter of his feet scurrying across the wood floor with hair-raising echoes.
At startup, 'Child's Play' and 'Curse of Chucky' commence with a couple skippable previews. Blacks exhibit strong resolution and consistency with clear visibility of objects in the darkest portions of the image. The color palette is bold with richly-saturated primaries throughout, and black levels are true with good delineation of objects within the darkest shadows. The movie really shows its age with a few sequences of average resolution and some softness. Contrast has also been slightly boosted, making several of the highlights bloom and expose some mild mosquito noise. Healthy facial complexions in the human cast reveal every pore, wrinkle and blemish during close-ups, and the color palette is vibrant and highly animated. We can make out every pore and wrinkle on the cast, and each stitch on the clothing and face of Chucky is very well-defined. In either case, 'Curse' arrives with a great high-def presentation, in spite of its rather unattractive digital appearance.
Low-frequency effects are also put to good use, adding heavy palpability to several action sequences and every gunshot fired.
The mid-range is never really pushed into the upper levels, but the soundstage maintains outstanding clarity during the many action sequences.
The mid-range is not particularly extensive or pushed very far, but discrete effects during the louder action sequences are distinct and clear. Imaging remains wide with several convincing off-screen effects that fill the soundstage, yet it doesn't feel engaging or welcoming. Imaging in the fronts is also broad and engaging with well-balanced channel separation and convincing off-screen effects. Other times, the pitter-patter of Chucky running across the floor is distinctly heard moving from one side of the room to the other with flawless panning. Separation between channels is well-balanced with plenty of fidelity and warmth while vocals are precise and intelligible in the center. Many insights and background about the production are offered, but the conversation is mostly centered on fond memories of working on set and public reaction. It is unfortunate Tom Holland was not invited to record a commentary track; but those interested in listening to his thoughts can download the MP3 from Icons of Fright.
Towards the end, Don Mancini chimes in to finish up the track and remind Chucky who directed 'Child's Play'. In "Creating the Horror", the cast talks about what attracted them to the story and shooting on location, which turned out to be Chicago's coldest winter in years.
The trio jokes and quips on a variety aspects concerning the production while also delivering several great anecdotes and bits of information on from behind-the-scenes. They talk plenty on the plot's themes, characters and silly humor while also noticeably enjoying the movie by pointing out various specific scenes. When you scroll down to "Evil Comes in Small Packages", quickly navigate back up and you'll highlight Chucky striking a pose. Supplements are nothing new, but it's a nice assortment of featurettes worth spending some time on. Granted, director Tom Holland ('Fright Night') generates some good moments of suspense and action; but in the end, there is nothing really terrifying about this story of a maniacal doll.
Without his talent, the movie would lack a great deal of feasibility and at least some hint of believability. In either case, the idea of toys which try to appear more lifelike is quite creepy and disturbing, and the filmmakers take advantage of this and provide audiences with a tale that plays into our childish nightmares. Three 'Child's Play' movies had already made Chucky a genre favorite, but this fourth installment turned the maniacal doll into a cultural horror icon. This latest chapter may have been relegated to a direct-to-video release, but 'Curse' marks Chucky's gleeful return to the macabre and twisted.
Afterwards, disc one changes to an animated menu while disc six shows a static menu screen.
The color palette is nothing spectacular, but it's cleanly rendered and secondary hues are accurate. The video also appears to have been brighten somewhat, as contrast runs a tad on the hot side, creating some mild ringing in daylight exteriors and blooming the highlights. Black levels are richly rendered with dark, penetrating shadows, and contrast is comfortably bright.
The real shocker is the amount of activity in the rear speakers, offering many instances of atmospheric immersion like the sounds of thunder or the ricochet of bullets. Low bass is not exactly a showstopper or standout, but it adds the appropriate weight to the music and action, especially in the final moments inside the Good Guys factory, making this a great lossless mix for a cheesy follow-up to a horror flick about a killer doll. Low bass is somewhat wanting in certain scenes, but it's adequate enough to do the job and provide presence to the lossless mix. Channel separation is still well-balanced, and dialogue reproduction is well-prioritized and intelligible in the center. The mid-range is quite sharp and detailed while the low-end packs a pleasing punch and palpable oomph to a few action sequences. The best part of the segment is watching the making of Chucky and all the animatronics done on set.
Do the same for "Chucky: Building a Nightmare" and find the Good Guy doll, still in its original packaging. The overall package is a welcome improvement to previous editions, and devoted Chucky fans will be more than satisfied with this set. It is only with the evil, wicked attitude he imposes in the character that we enjoy watching Chucky strut his stuff and trust that the doll is capable of terrible malice and malevolent intent. He brings a dark visual style that plays with the energy and humor of the story, but there's no denying certain aspects of the plot fall flat. And finally, contrast runs a tad on the hot side, exposing a bit of noise in the whites, clipping the highlights and creating some noticeable ringing around the edges of various objects. On the plus side, black levels are deep and true while colors are rendered boldly and accurately. Only gripe worth noting is about a minute in the final moments with serious artificial sharpening and ugly halos, but aside from that, the transfer looks great.
Even Chucky has his moment where he scurries along behind the listener, extending the soundfield and generating a welcomed instant of creepiness. Discrete effects in the surround speakers are generally sporadic and incredibly subtle, almost to the point of being inaudible, so there's nary a moment of envelopment.
With excellent, precise dialogue reproduction in the center, the lossless mix makes a great listen with plenty of fun.
Do it once more for "Monster Convention" and discover Chucky's menacing face suddenly appear in the center of the screen. Tilly's fight with her assistant (Hannah Spearritt) makes absolutely no difference to the story, and Tilly's budding romance with her limo driver (Steve Lawton) is lame and unfunny.
Only complaint is a vocal track that can be overwhelmed in few areas, but it is clear and precise for the most part. Revell's score and the couple song selections do better at expanding the soundfield and filling the room, but ultimately, the high-def track feels lifeless and lacking in several areas.
In the final part titled "Unleashed", the filmmakers chat about screening tests, editing the film to less than two hours, Kirschner's elaborate staging for the premiere, and audience reaction, turning Chucky into a memorable horror icon.
Overall, the half-hour retrospect is quite enjoyable for fans and the disc's best supplement.
It loses steam at the halfway point, but in spite of recovering with a pleasing finale, part three is rightly considered the weakest in the franchise. However, if you can't already tell, I largely overlook those weaker parts and concentrate on the areas that make me laugh, enjoying number five in all its stupid glory.




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Comments to «Story of a childs faith»

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