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R.L. Stine, the author of extremely well-liked horror stories that are marketed toward children and has sold millions of copies, creates a very unique universe in his books. It is full of cleverly conceived monsters that derive from classic adult or “adult” horror, but which are consistently and imaginatively skewed to the taste and tolerance of a younger audience. It is replete with cleverly conceived monsters that derive from classic adult or “adult” horror. The goal here is to give the audience the chills they need without subjecting them to anything too traumatic in their nightmares. The success that Stine has achieved is certainly deserved, and his works have been adapted for a variety of mediums, including television and direct-to-video. A foray into that world for a feature film is a potentially challenging gig, but director Rob Letterman, assisted by writers Scott Alexander and Larry Karaszewski and Darren Lemke, and an energetic cast rise to the occasion, delivering a movie that is a lot of good creepy fun despite some dubious construction.
The scenographers Alexander and Karaszewski go all out by constructing a meta-narrative that has the capacity to include an incredible number of Stine’s goofy and frightening monsters. The mother of Amy Ryan, Gale, is an educator, and at the beginning of the story, she is seen driving her and Zach, played by Dylan Minette, to their new home in what Zach considers to be the most uninteresting location in all of Delaware, if not the entire world. Things pick up a bit with the appearance of cute teen girl next door Hannah, played by Odeya Rush, but things get chaotic when Hannah’s irritable and eccentric father, played by Jack Black, buts in. A wide-eyed nerd at school named Champ, who is called “Chump” by the rest of his class (Ryan Lee), makes fast friends with Zach, and the two of them decide to find out exactly what is going on with the new neighbors. (It is fairly obvious that a sizeable portion of the film was removed in order to speed up the sequences involving the monsters; as a result, the story suffers from some bumps as a direct result of these cuts.)
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It turns out that Black is actually R.L. Stine, or “R.L. Stine,” and what makes his books so good is that the monsters in them are real; the only thing that keeps them contained is when the manuscripts of the books in which they appear are bound and sealed. Black is actually R.L. Stine, or “R.L. Stine.” A ventriloquist dummy named Slappy, who is a veritable doppelganger for Black’s Stine, becomes the ringleader of an army of now-free creatures after Zach’s snooping accidentally releases an abominable snowman. Slappy’s plan is to exact some kind of unspecified vengeance on the person who created him and them, and while they’re at it, they’re going to wreak havoc on the town as well.
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As a result, we get a series of horror set pieces that are more subdued variations on the comedy horror scarefests that have been popular in recent years. Although it is not as intense as either “The Shining” or “Zombieland,” the scene in which Stine, Zach, Hannah, and Champ try to escape from a werewolf wearing gym shorts in a grocery store is reminiscent of both of those films. In reference to “The Shining,” both the title of the book and the name of the author have been the punchlines to a number of jokes that have been described as both witty and knowing. Although it may be a stretch on my part to believe that the army of toy robots seen in a couple of shots is based on the toy designed by Fred MacMurray for the 1950s drama “There’s Always Tomorrow” directed by Douglas Sirk, I am convinced that this is the case.
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Whatever the case may be, all of the creatures, which range from the diminutive robots to the towering aliens carrying freeze guns to the gigantic mantis, are rendered very nicely in realistic computer animation, while the live-action cast is consistently interesting and frequently very funny. This movie has a twist of its own, and it’s a pretty daring one that expands on the initial reflexivity of the plot itself, while also making a convincingly heartfelt statement about the power of imagination and its earnest exercise. Stine’s character makes frequent references to the all-important “twist” he builds into each story, and this movie has a twist of its own as well. In the event that I make this appear to be more weighty than it is, let me assure you that it is not; the movie is lighthearted and entertaining, providing thrills for children and a nicely nostalgic matinee vibe for adults.
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