Part of the fun of watching an indie movie in the Internet Age is that it hasn’t yet fallen prey to a ubiquitous, overly revealing trailer. You know, the two-minute clip that tells you the tone, plot and oftentimes the freakin’ twist before you’ve even bought a ticket. A sharp little film like “Come To Daddy” can’t drop seven figures on a Super Bowl ad.
Going in cold makes the dramatic thriller about a son who reunites with his dad in a far-removed beach house constantly, jarringly surprising. And, aside from a few silly bits near the end, Ant Timpson’s movie is very well-done.
You can tell the California home is secluded as soon as Norval (Elijah Wood) hops off a bus on the side of the road and walks through a thick forest with his roller luggage. He knocks on the door, and it’s answered by a scraggly man (Stephen McHattie) who looks like Nick Nolte’s DUI mugshot. A k a the last guy you’d want to be your long-lost father.
As the two attempt to reconnect, lies are told — by both — and the stress of it all has Norval fighting to keep his alcohol addiction at bay.
That’s the first 25 minutes. The rest keeps you guessing as to exactly what story you’re watching: Is it “The Tell-Tale Heart”? “Cape Fear”? “Manchester by the Sea”? “Home Alone”? “Come To Daddy” borrows something from all of those, but feels wholly original at the same time.
Wood, like fellow mega-franchise star Daniel Radcliffe, has found a comfy home in indie films. And he has the perfect presence for this one, in particular. With his deep pools for eyes, the audience wants the best for Norval, and yet there’s something a bit off-kilter, too, something that makes you think he might stab you in your sleep.
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February 07, 2020 at 01:59AM
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'Come To Daddy' review: Elijah Wood's thriller is a bloody shocker - New York Post
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