Come to Daddy (2019)

Director: Ant Timpson

Writer: Toby Harvard, Ant Timpson (idea)

Starring: Elijah Wood, Stephen McHattie, Garfield Wilson, Madeleine Sami, Martin Donovan, Michael Smiley

Come to Daddy was the opening film to the Arrow Frightfest film festival and although it is the type of film which is likely to divide both horror fans and critics, this quirky offbeat horror-comedy it is the perfect film to get the horror started.

From The writer of The Greasy Strangler (2016) Toby Harvard, based on an idea from director Ant Timpson in what is his feature directorial debut, Come to Daddy is one of those films that really takes you by surprise. It is a film where the less you know about the events the better, which is why I have tried to exclude most of the main plot twists (and there is a lot) from this review.

Come to Daddy is a clever dark comedy, which despite a rather slow ominous start quickly evolves into a tense thriller which soon picks up the pace and continue to build an ongoing tension. With a multitude of twists in the story there is an ongoing unpredictability that keeps you guessing, so you constantly unsure what is going to happen or where it is going to next.

The film starts with Norval (Elijah Wood) visiting his estranged father (Stephen McHattie) at his remote cabin by the sea, having received an unexpected letter after 30 years of no contact. The unexpected reunion however does not go as planned, despite Norval’s desperate attempt to impress and gain approval; his father maintaining a somewhat detached persona with a disparaging and often sardonic attitude. It is soon clear that Norval’s father was not the man he was expecting him to be, but soon finds that his personality is the least of his worries. As he begins to learn more about his father, he finds out about his shady past which unfortunately is beginning to catch up with him.

Elijah Wood is perfectly cast as the kind eyed Norval, whose personal insecurities and bewildered geeky nature create some of the film most awkward comedy moments. With Wood’s wide eyes and elaborate facial expressions really adding to the scene. His performance is excellent throughout, although it is powerfully conveyed in one of my favourite scenes where Norval is talking about his involvement in the music industry. It is one of the few moments where Norval finally seems more relaxed and confident in himself as he talks about his career. However, when he is called out by his father, sudden truths are revealed and things take an uncomfortable turn. You can see the confidence fading into desperation, as he is left wavering with the awkward tension, having now received a contemptuous response rather than the approval he was hoping for.

Their are several quirky characters who we meet throughout, but the most memorable character is Michael Smiley who seems to relish the opportunity to play the colourful, but contemptuous Jethro. With a gusto he delivers the films best dialogue with a distasteful and somewhat gleeful enthusiasm. Yet despite being a foul dislikeable character, whose violent methods are carried out with an often disgusting and disturbing menace, the comical absurdity of the situations and Smiley’s exuberant delivery leaves you wanting more. It is definitely one of his most memorable characters to date who is so captivating to watch and with the dark humor in the delivery constantly had me laughing out loud.

The cinematography early on in the film incorporates the amazing backdrop of the island, with the scenic shots which not only complementing the beauty of the area but also emphasizing the sense of isolation with their location. This like so many themes in the film this does changes throughout with the bright spacious images replaced with a darker, more enclosed shots which create help to create a more claustrophobic feel to proceedings.

The horror elements of the film stem from the continuous tension which is created as the graphic and creative violence continues to increase, with the later stages of the film proving to be a complete contrast to the slow brooding opening moments. The violence doesn’t overcome the film, but when it does occurs it is brutal and raw and not for the faint hearted. The more hardcore desensitised horror fans will love these moments and will no doubt find themselves laughing due to the comical slapstick nature of the action.  Credit has to be given to the special effects team with some of the gore as they really hit it head on here.

It is a brilliantly conceived story from writer Harvard and director Timpson’s who lead the audience on a rollercoaster of twists and clever plot reveals which continue to change the direction of the story. It is impossible to foresee what is coming next and despite the events gradually become more bizarre it still somehow remains grounded in a reality; the flow of the events feeling naturally connected as it eventually circles back round to the start.  

Come to Daddy is the perfect film to open up a horror festival, being a clever, fun and creatively violent horror which unfolds differently to how you may initially expect. It may not be for everyone, but there will be an audience who will love the originality and it will surely be destined to gain a cult following. As a producer Ant Timpson has already been involved in some amazing films and it is a shame that it has taken him so long to get back behind the camera since his first directorial short Crab Boy in 1996. Hopefully he won’t take too long before he goes behind the camera again, because he is definitely someone that I would like to see more of in the future.  

Philip Rogers

Published in various websites, Philip is a reviewer who is best known for his interviews and media coverage of independent projects including; films, books, theatre and live events. Always on the lookout for something different to cover!