The Puppet Master: Rhys Frake-Waterfield’s Twisted Fairy Tales

Rhys Frake-Waterfield’s “Pinocchio: Unstrung” is the latest installment in his “Twisted Childhood Universe,” a series of horror films that reinterpret beloved children’s stories with darker, more violent themes. While some might dismiss this as a gimmick, it’s clear that Frake-Waterfield aims to tap into something deeper – a sense of unease and discomfort that lingers long after the credits roll.

The original Pinocchio tale by Carlo Collodi features gruesome details and an overall atmosphere of moral ambiguity, making it well-suited for a horror treatment. Guillermo del Toro’s stop-motion adaptation explored some of these darker themes, but Frake-Waterfield’s take on Pinocchio is more focused on gore and exploitation than thoughtful exploration.

One of the film’s strongest aspects is its puppetry and animatronics, which feel like a deliberate attempt to subvert expectations. The craggy, rough-hewn Pinocchio is a testament to the skill of the filmmakers who brought him to life. Beneath the surface-level horror tropes, it’s clear that Frake-Waterfield is trying to say something about identity and humanity.

Pinocchio’s desire for human organs – a nod to his lack of self-awareness – feels like a commentary on societal pressures to conform. However, despite this promise of depth, the film ultimately falls flat due to clunky writing, underdeveloped characters, and half-hearted performances from the cast, except for Robert Englund’s standout cameo as Jiminy Cricket.

Frake-Waterfield has found his footing as a filmmaker, but “Pinocchio: Unstrung” shows more promise than polish. The real question is whether he’ll continue to push boundaries or settle into a formulaic approach. His work raises questions about the nature of horror itself – is it enough to simply shock and disturb our audiences, or do we need something more?

Frake-Waterfield’s success has been criticized for its exploitation tactics, particularly in films like “Winnie-the-Pooh: Blood and Honey.” However, there’s also a raw energy to his work that’s often lacking in mainstream horror cinema. He’s not afraid to take risks and push boundaries, which is a quality that’s hard to find in polished, glossy horror movies.

Frake-Waterfield’s future will be worth watching as he continues to develop the “Twisted Childhood Universe.” Will he continue to push the envelope, or will his series fade into obscurity? His success – or lack thereof – says something about the future of B-horror as a whole. This genre has always been known for its rough-around-the-edges quality, but Frake-Waterfield’s films feel like a reaction against the polished horror movies that dominate our screens.

They’re a reminder that sometimes it’s okay to be messy and imperfect – to take risks and see what happens.