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 Omnia Elgammal) 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 and incidental 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.
