Puppet Master 4 is in a race with itself. Can it deliver on the animate puppet action before the cast becomes too intolerable? Can it deliver before the stupid scenes get to be too much? No, as it turns out, it can’t. Puppet Master 4 doesn’t succeed. Not even a Frankenstein making-the-monster homage with the puppets can make up for the film’s problems.
It’s a high concept sequel about these research scientists doing bleeding edge work into artifical intelligence. They’re really close to computers being able to figure out how to get computers to play with blocks. But first, square scientists Stacie Randall and Felton Perry need to get renegade, rebel scientist Gordon Currie to do his work. Currie’s work with LaserTag-equipped robots has the power to change the world. And not everyone is happy with it. Like this painfully animatronic demon who sends little lizard monsters out to hunt down the scientists. The film opens strong with the promise of Pupper Master puppets versus these little… well, frankly, they’re little tailless Compys, basically. Full Moon predating Spielberg by a few years.
The painfully animatronic demon has some flunkies and they’re in a secret, skull-filled temple cave thing. Puppet Master 4 gets away with it for a while because it’s Full Moon, it’s Puppet Master… 4. As long as the puppets come through, it’ll all be fine.
Except when the annoying humans find the puppets, the story doesn’t stay with the puppets, it goes back to the annoying humans. See, in addition to being the smartest man alive, Currie is also the caretaker of the hotel where the first two Puppet Master movies took place. He’s the only one there. He calls up possible-girlfriend-but-the-script-never-clarifies Chandra West for a booty call. She comes over, but brings with her Currie’s childhood nemesis, now yuppie scientist Ash Adams, and psychic Teresa Hill. Apparently West and Hill are friends. It’s never actually clear if West knows Adams knows Currie. West gets absolutely nothing to do in Puppet Master 4.
It also means she gives the best performance, because it’s not like the movie gives anyone anything good to do. Five screenwriters on this film… it’s a bland script too. For the first half, the blandness is what saves it. When the plot gets busy–like Currie outfitting the puppets with miniature LaserTag guns so they can play together while listening to heavy metal and West can just sit and watch because girl–Puppet Master 4 gets worse. Adams is lousy as a sniveling opportunist, but he’s a lot worse when he’s got to do a oujia board or get attacked by the little lizard creatures. Same goes for Hill.
After staying reasonably steady in the tolerable bad range, the movie makes some big drops all at once. That halfway point is rough.
When Puppet Master Guy Rolfe–superimposed over a puppet’s head in some of the film’s less successful effects work–returns, it’s not successful but it does help get the movie out of its funk. Currie too gets much worse with more to do.
None of the actors get any help from director Burr, who’s best at the puppet stuff. Not the puppets fighting stuff, because Burr’s terrible at all fight scenes and most action scenes, but the puppets being animate on their own. Those sequences work. Puppet Master 4, when so inclined, can deliver its puppets. It just can’t deliver them enough.
Budgetary limits also show in the computers. Having Currie doofus around a computer, which is clearing not turned on, unable to pretend he’s doing any computer things… it doesn’t just make him unbelievable as a computer scientist, it makes him unlikable. Any investment in Currie in the movie is a waste. He just gets more and more annoying. Five screenwriters and they characterize him as an eleven year-old boy. The movie would’ve been far more successful if it had been about an eleven year-old boy genius.
That actor might have known how to use a computer.
So, Puppet Master 4. Good puppets, not enough of them. Bad acting, way too much of it. Burr’s direction is also a big problem.
Directed by Jeff Burr; screenplay by Todd Henschell, Steven E. Carr, Jo Duffy, Douglas Aarniokoski, and Keith Payson, based on characters created by David Schmoeller; director of photography, Adolfo Bartoli; edited by Mark S. Manos and Margeret-Anne Smith; music by Richard Band; production designer, Milo; produced by Charles Band; released by Paramount Home Video.
Starring Gordon Currie (Rick Myers), Chandra West (Susie), Ash Adams (Cameron), Teresa Hill (Lauren), Stacie Randall (Dr. Leslie Piper), Felton Perry (Dr. Carl Baker), Michael Shamus Wiles (Stanley), and Guy Rolfe (Toulon).
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