As with Andrew Jones' previous exertions into the past (World War 2 is once more approached here), there is a certain approximation of authenticity on display. Whilst the visuals are convincing, the discourse, with its liberal usage of modern day expletives, breaks the spell somewhat. That, and the occasional line of dialogue drowned by Bobby Cole's terrific music score, are pretty much the only issues I have with this. This latest instalment of Jones' 'Robert' series shows them both firing on all cylinders. The pace often moves along at a fair lick, the various dolls look pretty frightening, and you truly do not know where the plot is headed.
Lee Bane, bless his cotton socks, who has appeared in the vast majority of films from the North Bank Entertainment stable, labours under heavy make-up as Amos Blackfoot, The Toymaker. A kind of misunderstood Geppetto, he is being searched for by Nazis aboard a train (which you may notice, becomes a modern train during the night shots). The Toymaker is in possession of the mystical book containing spells that bring inanimate objects to life. But the dolls have already been brought to life. The Toymaker's grief whenever a doll is destroyed echoes a searing pain from his past: the creatures have become children to him. I don't think I noticed before, but Blackfoot has different coloured eyes, and this is echoed in Robert, his favourite 'child'.
Whilst the moving dolls are as convincing as you want them to be, the various CGI blood effects work surprisingly well, with the advantage of not staining the various period uniforms. It is surprising how little the dolls are featured here. The ending, rather than providing a spectacular denouement, simply presents us with another twist in the ongoing story, making it highly likely we haven't heard the last from Blackfoot, or his children. As the end caption warns us, Robert will return - and that's fine with me.
Lee Bane, bless his cotton socks, who has appeared in the vast majority of films from the North Bank Entertainment stable, labours under heavy make-up as Amos Blackfoot, The Toymaker. A kind of misunderstood Geppetto, he is being searched for by Nazis aboard a train (which you may notice, becomes a modern train during the night shots). The Toymaker is in possession of the mystical book containing spells that bring inanimate objects to life. But the dolls have already been brought to life. The Toymaker's grief whenever a doll is destroyed echoes a searing pain from his past: the creatures have become children to him. I don't think I noticed before, but Blackfoot has different coloured eyes, and this is echoed in Robert, his favourite 'child'.
Whilst the moving dolls are as convincing as you want them to be, the various CGI blood effects work surprisingly well, with the advantage of not staining the various period uniforms. It is surprising how little the dolls are featured here. The ending, rather than providing a spectacular denouement, simply presents us with another twist in the ongoing story, making it highly likely we haven't heard the last from Blackfoot, or his children. As the end caption warns us, Robert will return - and that's fine with me.