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Plot: reality show contestants run afoul of escaped masked serial murderer.

For reasons both inexplicable and incomprehensible the Playing with Dolls (2015-2017) franchise is Rene Perez’ most persistent property next to his zombie series The Dead and the Damned (2011-2015) and his penchant for reimagining classic European fairytales for mature audiences. He keeps churning out these things with no notable improvements (and with little variation) between episodes. The only fundamental change is that the series after Playing with Dolls: Havoc (2018) was rebranded as simply Havoc with Cry Havoc (2019) acting as the first episode under the flagship series’ new name. At best it’s a cosmetic change that has little to no bearing on the more fundamental problems that plagued this series since its beginnings in 2015. The original Playing with Dolls (2015) had its problems. The actual slashing was fairly minimal and it wasn’t remotely scare or tense. It did have a cool looking killer and the dynamic duo of Natasha Blasick and Alanna Forte remain unmatched. Redundancy and regression has long plagued the slasher subgenre and Playing with Dolls: Bloodlust is a good example of the American slasher persisting despite decades-long creative inertia and erosion.

Those hoping that Perez would at long last manifest something, anything, to warrant Playing with Dolls existing beyond the original will be sorely disappointed. If Playing With Dolls (2015) was a stylistic exercise, a mood piece above all else, then Playing with Dolls: Bloodlust is where things, minimal as they were, show mild signs of improvement. There’s an almost Jim Wynorski quality to the oeuvre of Rene Perez in that he shoots his features in a similar breakneck pace with little regard to things like screenwriting or stylistic cohesion. Like Big Apple breastlover Wynorski or Hawaiian low-budget specialist Albert Pyun, Perez too has access to a pool of actresses many of whom don’t seem to mind taking their tops off whenever the script requires. Granted Perez is only minimally exploitative but like the New York grandmaster his projects also seem to be based more on premises rather than finished scripts and by and large seem like an excuse to get his assembled actresses out of their clothes. Playing with Dolls: Bloodlust at least makes strides forward in terms of special effects but remains as anemic as ever in terms of narrative. Once again fishing in the model pool Playing with Dolls: Bloodlust has the good fortune of having Elonda Seawood - a last-minute replacement for Alanna Forte from the original - as a minority character not afraid to show off her goods.

Four people are lured to a remote cabin in a densely forested region under guise of a reality TV show. Each contestant has different reasons for partaking in the show. Stina (Karin Brauns, as Karin Isabell Brauns) is poor white trash, has a tween daughter (Leia Perez) to support, and just walked out on a titty bar job on moral objections. Magnus (Colin Bryant) is a struggling single father who has a son (Logan Serr) from a previous marriage to support. Nico (Elonda Seawood) is the prerequisite sassy black girl and thus has a full bra and an empty head, while Rodrigo (Andrew Espinoza Long) was apparently chosen for his intellect and wits. Their gravelly-voiced hostess Trudy (Marilyn Robrahm) informs them that whoever survives the week at the cabin will be awarded one million dollars in prize money and play the prestigious lead role in an upcoming horror production in the area. The cabin and surrounding woodland are monitored by an extensive surveillance system and the four are told that a deranged killer is on the loose. What they don’t know is that the killer isn’t an actor but Prisoner AYO-886 (Charlie Glackin). They are the latest “dolls” for him to “play with” in another social experiment from wealthy entrepreneur Scopophilio (Richard Tyson), who still continues to kidnap attractive young women (Omnia Bixler) as a side business.

In the hands of a professional screenwriter Playing with Dolls: Bloodlust could have said something about celebrity culture, society’s treatment of the poor and the marginalized, and race relations. Instead we’re stuck with one-note archetypes that barely qualify as characters. Stina is poor white trash (“mommy didn’t get an education” is her one and only defining line of dialogue), Magnus is the victim of poor decision-making, Rodrigo comes from an affluent background, and Nico is an airhead whose sole mission it is to show the world her magnificent rack. Speaking of large-breasted women and their fate in this kind of horror, just like Alanna Forte in the original, the opening gambit with Emma Chase Robertson coming to a gruesome end serves no function and won’t ever be referenced again. At no point does Perez show the slightest interest in expanding the Playing with Dolls (2015) premise. Instead of offering some insight into why exactly Scopophilio is doing what he does, or establishing any kind of backstory for Prisoner AYO-886 Playing with Dolls: Bloodlust has only the most ephemeral of plot. It is content to do what Playing with Dolls (2015) did the year before with a slightly larger set of characters. The only change (if it can be called that) is that Prisoner AYO-886 is no longer the conflicted colossus reluctant to kill and his increased bloodlust translates in a newfound penchant for severing extremities. Likewise is he no longer burdened by a plot-convenient conscience and the kill scenes make good use of his hulking presence and love for sharp-edged weapons.

The special effects work from Debbie and Joseph Cornell and Ryan Jenkins is far more ambitious and better realized than the minimalist original. Playing with Dolls: Bloodlust does not shy away from blood and gore although bloodsplatters and gunshot wounds still appear to be of the reviled CGI variety rather than more old fashioned practical effects that worked wonders for the classics. As turgid and tedious most of Perez’ movies tend to be at least the landscapes and locations he chooses to shoot in are uniformly beautiful. Especially the caves to and from Scopophilio’s subterranean hideout and the richly decorated tree-lair of Prisoner AYO-886. No wonder they featured more prominently in Playing with Dolls: Havoc (2017) a year down the line. Perez could probably use them as a location for a potential remake of Alien 2: On Earth (1980), not that we would want to give him any ideas. Or rather we do, if Death Kiss (2018) is anything to go by Perez knows his classics. It makes you wonder why he hasn’t given the world that much pined after LETHAL Ladies derivate yet.

The obvious and natural question to arise is, of course, whether it was necessary to extent Playing with Dolls beyond the original? The answer to that is a glaring and resounding “no”. Playing with Dolls (2015) was decent for what it was, but didn’t warrant frequent revisiting. About the only ray of light was Alanna Forte during the opening gambit. Playing with Dolls (2015) seems to have drawn all the wrong conclusions from Friday the 13th (1980) and its very many inferior imitations from all over the world. Playing With Dolls: Bloodlust is largely cut from the same cloth and isn’t very interested in doing something beyond the basics of what is expected of a backwood slasher. Perez probably would excel in a Julia X (2011) imitation or a derivate of Pete Walker’s The Flesh and Blood Show (1972) which also featured plenty of nubile women in flagrante delicto and with little in the way of clothes. Practical effects notwithstanding Playing With Dolls: Bloodlust is decent at best but has little to offer beyond bloody kills. If anything, at least it showed that Playing With Dolls as a series was developing something resembling a pulse. What the continued (and continuing) existence of Rene Perez proves is that we finally seem to have a worthy heir to the dubious cinematic throne of Albert Pyun.

Plot: homeless girl runs afoul of escaped masked serial murderer.

At the crossroads of Albert Pyun, Andy Sidaris, and Jim Wynorski lies the ever-expanding cinematic oeuvre of Rene Perez. Perez has been writing, producing and editing his own low budget features since 2010 and shows no signs of slowing down or stopping anytime soon. Around these parts Rene has garnered a degree of infamy with his very loose adaptations of classic European fairytales. Next to his various western crossovers Alien Showdown: The Day the Old West Stood Still (2013), Prey for Death (2015), and From Hell to the Wild West (2017) his zombie franchise The Dead and the Damned (2011-2015) has proven resilient. Perez shoots features by the old 42nd Street adage of blood, boobs, bullets, and babes. Death Kiss (2018) - his vigilante justice crime exploitationer modeled after Death Wish (1974) with professional Charles Bronson impersonator Robert Kovacs - is perhaps his most legendary. Before Death Kiss (2018) there was Playing with Dolls, Rene’s loving tribute to backwood horror, and the classic American slasher. Cabal (2020) was a good throwback to late seventies/early eighties exploitation, but conceptually didn't gel entirely. Playing with Dolls is the scion of Three on a Meathook (1972), The Texas Chainsaw Massacre (1974), The Hills Have Eyes (1977) and to a lesser degree Friday the 13th (1980). Rene knows his classics.

Things haven’t exactly been looking up for Ukrainian immigrant Cindy (Natasha Blasick). In short order her roommate left taking with her all belongings, furniture and appliances from their apartment, Cindy is fired from her job and evicted by her landlord (John Welsh) who tries to extort sexual favors from her to make up for the rent she’s still due. Out of the blue Cindy receives a phonecall from a lawyer (Allisun Sturges) inquiring whether she would be interested in a month-long housesitting job for a hefty sum of money. Thinking her luck has finally turned Cindy heads out unprepared to the agreed-upon rendez-vous point to meet her employer. There she runs into a creepy farmer (John Scuderi) before a delegation takes her deep into the densely forested woodlands to a luxurious log cabin far away from civilization. It never dawns on Cindy that the sudden appearance of a high-paying job and a working-space cut off from civilization with no transportation, or communication is not in the least a bit sketchy. Alas, such blissfully aware epiphanies will not be forthcoming until it is late. Too late, at any rate. Isolated and bored out of her skull Cindy drowns herself in hard liquor and modeling high-end fashion to kill time…

What she doesn’t realize is she has become the latest victim in a social experiment engineered by, and for the vicarious pleasures of, mysterious benefactor Scopophilio (Richard Tyson). Not only has he facilitated the release of psychotic masked serial killer Prisoner AYO-886 (Charlie Glackin) but he has chosen her to be the next “doll” for the deranged madman to “play with”. On the side Scopophilio (obviously derived from scopophilia, or the Latin term for voyeurism) has his assistant Trudy (Marilyn Robrahm) kidnap attractive young women for his personal gratification the most recent victim (Elonda Seawood) has been kept in a perpetually drugged state. Scopophilio somehow is able to steer Prisoner AYO-886’s actions by voice commands. The woodland area and cabin are monitored by an extensive surveillance system and the perimeter is guarded by a well-equipped private para-military force headed up by an unstable commando (Sean Story). Lounging out in the hot tub one day Cindy meets battered and blooded police officer Burnett (David A. Lockhart) who has been tracking the murderer since a string of unexplained disappearances in Lithuania. It’s only a question of who will get to them first; Prisoner AYO-886 or the para-military forces?

A better writer had explored all the interesting themes that Perez briefly glances upon and then ignores for the rest of the feature. Playing with Dolls, either by design or by sheer dumb luck, touches upon the ever-widening divide between the rich and the poor, the desperation that poverty drives people into, the addiction to alcohol and related substances to which it inevitably leads and the social isolation that it enables. This could have been about the journey of a young woman overcoming great personal shortcomings and less than fortunate circumstances to learn something important about herself through a traumatic experience in the deep woods. Instead Playing with Dolls seems mostly concerned with out of nowhere action scenes, plodding and obvious padding that has Natasha Blasick in a three-minute montage showing off various clothes and moments later has her dancing around the cabin in a drunken stupor.

Blasick, for all intents and purposes, seems to play a part probably intended for Irena Levadneva but she never acted again after Little Red Riding Hood (2016). It opens with sometime Perez muse (and bootylicious swimsuit model) Alanna Forte being chased through a snowclad woodland before ending up bound and gagged and losing a nipple. An opening from which we can deduce that Perez has either seen Alfred Hitchcock’s Psycho (1960) or Sean S. Cunningham’s Friday the 13th (1980). Somehow it doesn’t turn into a throwback to the deranged excesses of the golden age of grindhouse slashers of the mid-to-late 1970s and early 80s. Forte gets naked in more Rene Perez features but in her screen debut Alanna’s character (if it can be called that) doesn’t even get so much as a name, let alone a backstory of some kind. Charlie Glackin is at his best when he can non-verbally act as a hulking and blunt instrument of wanton dismemberment and death. For reasons that will never be explained, Prisoner AYO-886 is prone to flashes of confusion and reluctance to kill as if he's suddenly burdened by a consciousness or a humanity.

Perez has expressed that he was aiming to avoid the usual slasher conventions, and that he does. For the most part Playing with Dolls is filmed as a ghost horror. It’s the sort of production that the Camp Blood (1999-2020) nonology would be if it ever got its collective wits together (which it never did). As such Playing with Dolls oozes with atmosphere like no other. To call this a fantastique would be a misnomer but it operates on the same dream-logic. Natasha Blasick and Forte both take their clothes off. The sexual undercurrent to some of Prisoner AYO-886’s actions with sharp-edged utensils and the way Perez lovingly glides his camera across and over the minimally clad or disrobed bodies of Forte and Blasick is something straight out of a Jim Wynorski flick. There are so many instances where Perez lets his camera glide over Natasha Blasick’s rear that you’d swear Tinto Brass was involved with the production. Not that we’d blame Perez for getting as much mileage out of Blasick’s gloriously well-formed posterior as he does, it’s probably her most beloved asset. What’s painfully clear even this early on is that not the cast, not the plot or the special effects drive Perez’ productions but the truly scenic locations he chooses. To his credit the way Rene Perez photographs the California woodlands is absolutely lyrical and it’s a crying shame that Rene later transformed Playing with Dolls in exactly what he avoided here. Once Playing with Dolls was extended into a franchise it did become a standard slasher. Perez has an eye for locations, striking visuals, and makes the most of what is by all accounts very little. He would probably make an absolute killing at directing moderate budget music videos if given the opportunity.

Playing with Dolls is the kind of slasher that doesn’t slash, where characters are so underwritten and static that they very well might not exist at all, and where the spooky locations and exteriors tell more of a story than the production they’re appearing in. The fight choreography and action direction aren’t much to write home about and the amount of CGI bloodsplatters are as fake as they are obvious. How Playing with Dolls would have benefited from old-fashioned practical – and prosthetic effects work. The synth score is hokey for the most part, completely unfitting at worst and makes one long for the likes of Anthony Riparetti, Gary Stockdale, Dave Andrews, Thomas Cappeau, or Joel Goldsmith. About the only thing that Playing with Dolls gets right is the design of Prisoner AYO-886. He is a hulking monstrosity of a man with the same fashion sense as Jason Voorhees and a Leatherface-styled dead skin mask complete with Frankensteinian steel enforcements and barb wire decorations. The biggest star next to the wonderful Californian landscapes and the assorted naked breasts of the female cast is Richard Tyson from Zalman King’s Two Moon Junction (1988), Kindergarten Cop (1990), the Farelly brothers’ comedy hit There’s Something About Mary (1998), Battlefield Earth (2000), and Black Hawk Down (2001). As much as he has an eye for scenic beauty Perez’ taste in women is equally impeccable as between Alanna Forte, Natasha Blasick and Elonda Seawood there’s something for everybody.

We have a sneaking suspicion that Rene Perez would probably fare well doing an Andy Sidaris styled spy-action romp with girls in candy-colored bikinis and oversized explosions. In fact we’re surprised that, so far, he has decided to stay within the horror, action, science fiction and fantastic realms thus far. For one we’d love to see a fun-loving action romp with the likes of Irena Levadneva, Jenny Allford, Alanna Forte, Elonda Seawood, Stormi Maya, and Natasha Blasick. Or at the very least a Jean Rollin or José Ramon Larraz inspired female vampire romp where Perez’ minimalism to narrative and production is actually a benefit. Perez would be the ideal candidate to carry on the cinematic legacy of Andy and Christopher Drew Sidaris and their LETHAL Ladies. In fact his recent Death Kiss (2018) was such a true to form imitation of Death Wish (1974) that it came replete with Charles Bronson lookalike Robert Kovacs. History has proven that Perez would get better with time and subsequent Playing with Dolls installments would be much more violent, gruesome, and full of practical effects work. Alex Chandon is generally better at this sort of thing, but Playing with Dolls does not tend to grate on the nerves as much as his batshit insane reworkings of European fairytales. If you are prepared to meet the Perez oeuvre halfway it can be surprisingly entertaining, actually.