More than one set of male genitals appears to be savaged in “Come to Daddy” (others, happily, are displayed without penalty), but not until the midpoint of this dementedly comic thriller do we recognize the means of reproduction as its driving force.
Of course, any movie that features the line “Semen contains more protein and nutrients than an ear,” and opens with paired quotations from Shakespeare and Beyoncé, might not be entirely on the level. So thinks Norval (Elijah Wood), a music-industry poseur, of his out-of-the-blue summons to the isolated shoreside home of his long-estranged father. His misgivings only deepen when the drunken, mercurial man who greets him (Stephen McHattie) provokes a confrontation that leaves Norval facing more mayhem and mounting gore than his sensitive soul can comprehend.
The first feature from the New Zealand director Ant Timpson, “Come to Daddy” initially exhibits an endearing strangeness that’s reinforced by Daniel Katz’s quirky camera angles and airily elegant framing. As the action narrows to an underground cell and, later, a series of swinger-stuffed motel rooms, the atmosphere becomes more claustrophobic and the plot substantially more nutty. Enjoyable performances from Wood and Martin Donovan (whose character prefers to remain unidentified) hold the film to its redemptive goals, even as it descends into what can only be described as bloody bedlam.
Absurd yet bold, lurid yet a tiny bit touching, “Come to Daddy” drags poor Norval from hopefulness to horror to a wickedly literal form of closure. More than a few audience members might even be happy to accompany him.
Come to Daddy
Rated R for foul language, a feces-smeared pen and a lethal roll of plastic wrap. Running time: 1 hour 33 minutes.
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February 06, 2020 at 07:00PM
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‘Come to Daddy’ Review: Father and Son Reunion - The New York Times
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