I have to imagine that there were a lot of folks in my generation that grew up on the big purple dinosaur named Barney and all of his pals. Barney, along with Power Rangers and Pee-Wee’s Playhouse, were staples for my formative years. In retrospect, it was probably one of the first times I learned and understood that media could be a useful resource when it came to education. In some strange ways, it could be argued that programs like Barney and Sesame Street laid the early foundation in me for what would soon take shape to be Victims and Villains.
When you’re growing up with programs like Barney, you rarely, as a child, ever think about the impact it’s having on the sanity of your parents. Growing up in the 90s, that purple dinosaur was everywhere. He was a genuine media juggernaut. Age has a way of actually allowing one to see the entire forest rather than just the trees. In 2022, Peacock allotted me the chance to see the cultural impact through the documentary, I Love You, You Hate Me. The documentary explored not only the previously mentioned impact of the show but also the hundreds of parents who couldn’t stand the beloved children’s icon. For them, it was a practice in torment above everything else.
It begs the question: was Barney good or evil for my generation? I guess it depends on the experience of each of the families affected by the show. I would certainly hope my parents didn’t side with some of the families in the You Hate Me documentary. Similarly to the pseudo-world of Willy’s Wonderland, writer-director Casper Kelly aims to answer a similar question with his horror comedy, Buddy. The film tells the story of a children’s show that blurs the line between reality and make believe as the titular character develops a case of blood lust.
Kelly wastes no time at bringing the audience directly into this world. Nearly the entire first act of this movie is set up like episodes of Barney or Pee-Wee’s Playhouse. This world is incredibly vibrant; the music is just as cringe as you remember it being, and above all else, Kelly perfectly recreates this era of children’s television. I think that’s what makes some of the most violent and horror-driven portions of this movie that much more effective. This very vibrant world is corrupted with the dark hues of blood to create a rather unsettling viewing experience. The flip between the aspect ratio also helps with the feelings of both dread and nostalgia.
Keegan-Michael Key crushes it as the character of Buddy. Key has already proven that he is a world-class voice actor in previous projects, and Buddy is no different. The mannerisms echo the feeling of nostalgia that Kelly brings to this property. Having it being brought to life by Key is something that is truly magical. The practical effects equally elevate this film as well. Some of the film’s more gorier moments are also some of the film’s best. It’s almost as if this world is brought to life even greater by the addition of violence. The blending of the genres here is also incredible. While this certainly feels like the appropriate follow-up to Too Many Cooks and Adult Swim Yule Log, Kelly gives us a world that feels like there is still more to explore.
That might be the blessing and curse of this world. While this film certainly has moments where it breathes, it can almost feel like it breathes too heavily in certain parts. The narrative is a little messy as the film gallops towards its blood-soaked finale. It’s probably one of the most upsetting things about Buddy. The first act can sometimes feel like we spent too much time in the world of “It’s Buddy," the in-universe show, before being thrust into the tale of Mother (Cristin Milioti), who feels like she’s going through her own identity crisis. Make no mistake, Milioti is exceptional here. She just feels underutilized.
While there are traces of the Milioti arc before we arrive to actually meet her, they still feel like they come to the viewer a bit too late. Miloiti and her on-screen husband, Topher Grace, also just feel like a side quest to get back to the main narrative. While there is an eventual payoff for their arc, the journey feels a bit lost in the shuffle of the story overall. Buddy is one of those films that could have benefitted from an additional 10-15 minutes to flesh out some of the story’s weaker moments.
Overall, Buddy is a worthwhile follow-up from Casper Kelly. It is creative, masterfully blending these bright visuals of nostalgia into the darker hues of a blood bath. Resulting in a fun time that could be a cult classic in the making. Keegan-Michael Key is awesome as our titular character here. Alongside an exceptional, but brief, performance from Cristin Milioti. The narrative can be a bit messy as the world expands past the beloved in-universe television show. The aspect ratio switches make this world feel immersive in the best way possible. Buddy is a creative, fun time that is destined for cult classic status.
RORSCHACH RATING:
Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others. Music by Mallory Johnson and others. We do not own nor claim any rights. Buddy is property of Roadside Attractions and Saban Films. We do not own nor claim any rights.
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