Baby Oopsie Part 3: Burn Baby Burn [Review]
Continuing the episodic narrative of Baby Oopsie Part 2: Murder Dolls (2022), Sybil’s world is rapidly falling apart. Her additional creations, Cowboy Roy and Frownie Clownie, are every bit as bloodthirsty as Baby Oopsie; her best friend Ray Ray is possessed; a corporate agent is determined to get her hands on Sybil’s doll prototypes; and private investigator Klink is closing in on her over the disappearance of her now-deceased housemate. Things are certainly heating up for Sybil in Burn Baby Burn.
This is the third instalment in the Baby Oopsie trilogy; the standalone spin-off franchise is written and directed by William ‘Billy’ Butler. Released just months after its predecessor, Baby Oopsie 3: Burn Baby Burn (2022) aims to bring the trilogy to a close, though its ending leaves the door open for more films in the series.
Review of Baby Oopsie Part 3: Burn Baby Burn
Characters
Whilst Sybil remains much the same timid character audiences have come to know, she demonstrates a greater degree of courage in this instalment, taking a stand against the demonic toys and satanic forces she helped bring into existence. Baby Oopsie, meanwhile, retains the more sinister appearance established in the previous film, although there is little further development to her character.
Cowboy Roy and Frownie Clownie are given enough room to establish themselves as credible threats without overstaying their welcome. Their presence adds another dimension to the murderous toy ensemble, though the franchise’s original homicidal plaything inevitably overshadows both.
Ray-Ray undergoes perhaps the most significant transformation, spending much of the film possessed and adopting a considerably more monstrous, less campy persona. Following Sybil’s change of heart, he effectively assumes a leadership role among the toys, providing a different dynamic to the established character relationships.
The remaining characters, including Mitzi in her spectral form, Father McGavin, Detective Klink, Hickory (who now emerges as a potential love interest for Sybil), and Kristy’s boyfriend Teddy, remain largely two-dimensional NPCs in Sybil’s increasingly bizarre world. Whilst they serve their respective purposes within the narrative, there is relatively little character development to distinguish them beyond their immediate contributions to the plot.
In short, Sybil shows greater courage, whilst Ray-Ray becomes a more monstrous presence and the new dolls add fresh threats. The remaining characters, however, remain largely underdeveloped.
Direction and production
Like its predecessors, Burn Baby Burn retains the distinctive Full Moon charm that fans have come to appreciate. Puppetry is employed alongside CGI facial animation to bring the trio of murderous dolls to life, with the digital effects complementing rather than detracting from their practical counterparts. There are a few less convincing uses of CGI, although these are brief enough to be forgiven.
Ultimately, Full Moon again delivers some impressive effects considering its typically shoestring budget.
The Trilogy’s Conclusion
For the first time, we finally get to see the Toy Master during the film’s climactic confrontation. He should not be confused with the Master (also known as the Kid) from the original Demonic Toys (1992). The final showdown between the entity and his toy minions is entertaining and provides a satisfying payoff after following the trilogy.
As previously mentioned, Baby Oopsie 3: Burn Baby Burn leaves the door open for a potential sequel. However, it does so without compromising the sense of closure provided by the film’s conclusion.
Verdict
Burn Baby Burn provides an entertaining and satisfying conclusion to a fun trilogy. Although Murder Dolls remains my favourite instalment, this is a close second, avoiding the sort of naff comedy that often undermines B-movie horror.
The creature effects are impressive given the limited budget, whilst Sybil and Ray-Ray remain an endearing pair of lovable losers. My main criticism is the lack of atmosphere, with much of the violence and conflict unfolding in broad daylight, leaving little to the imagination and diminishing some of the film’s potential menace. Nevertheless, this is a worthwhile watch, although newcomers would be best advised to watch the previous instalments first.
