🔴 Watch Premium Elijah Wood And Stephen Mchattie In Come To Daddy (2019)
Date: 2020-02-28 01:57:18
Viewed: 177 times - 16 hour, 56 minute, 19 second ago
Black comedy that starts slowly, but which gradually becomes more and more overwhelming, Come to Daddy is a discreet directorial debut for a feature film for the New Zealander Ant Timpson (producer among others of Turbo Kid, The ABCs of Death and The Greasy Strangler) , although here and there some problems emerge. The black humor, the irony on the relationship between father and son and, above all, a good dose of gore in the second half fully compensate and make us forget the lengths of the extensive premise and some small imperfections in the story.
Norval (Elijah Wood), the incarnation of the typical hypster, from California moves to a property surrounded by woods and facing the sea in New Zealand, after receiving the letter from his father Brian who abandoned him when he was still a child. The boy, emotionally fragile and hypersensitive, decides to give the parent a second chance, despite everything, and crosses half the globe to meet him, to get to know him and to understand why he left him and his mother alone.
However, once he arrives at his destination, after an endless journey, he finds something very far from what he wanted: to welcome him is a man with grumpy ways (embodied by a very rough Stephen McHattie), apparently far from happy to find the now adult son in front of his front door. Drunk, brusque and sometimes very rude, he actually gives the impression of concealing a vague contempt for his boyfriend, who motives on more than one occasion.
On the other hand, Norval is rather petulant. The Califonian a la page outfit and the limited edition gold cell phone go badly together with the Spartan character of the old man, who lives alone in a wooden house and cares little for fashions and new trends. Much of the comedy of Come to Daddy, especially the one created in the first part of the film, is based precisely on the friction of two worlds and two human types: a father and a son who represent the antipodes. On the one hand we have a arrogant thirty-year-old, who with humble and self-incensing pretense pretends to be DJ, producer and organizer of musical events, to be friends with Kendrick Lamar and to have been discovered even by Elton John, anzim, Reginald.
On the other hand, we have a somewhat shady 70-year-old man who claims to have been a limousine driver (but has he really been?), Who doesn't even know who the rapper is, who immediately smells the bluff when it comes to Elton John, and it takes nothing to mend his interlocutor, with a hint of cruel complacency. On the other hand, if you want to impress him, he declares that stories of quarrels and fistfights are needed; not exactly those in which Norval has in all probability never been involved, given the effeminate and delicate nature.
The play of the parts is perfectly carried out by a caricature Elijah Wood, who shells her sweet blue eyes and deliberately exaggerates her natural, slightly mellifluous mimicry. The actor, on the other hand, had already shown that he was comfortable to embody eccentric subjects in Macon Blair's I Don't Feel at Home in This World Anymore (our review), although in that case the character had a personality antithetical to Norval's in Come to Daddy. In the same way, decidedly amusing and at times bordering on the grotesque is the portrait of the insensitive drunkard who gives us Stephen McHattie (Pontypool, Watchmen), who does not spare himself in colds and increasingly peculiar attitudes.
Be that as it may, after a while it becomes clear that something is wrong, or that the lonely man whom Norval encounters is quite suspicious: in concise dialogues, as in mimicry, no paternal love shines through, indeed. When the boy refuses wine, declaring a little embarrassed to have had alcohol addiction problems, the other does nothing but shrug his shoulders, fill his glass up to the edge and gobble it up in front of his son. His every gesture, his every word is a slap to the latter. It is certainly strange therefore that, after sending him a tear-jerking letter (the dynamics in which the expedition took place remain obscure even for us to the end ...), he acts so inconsistently, so detached. Even the protagonist comes to wonder - and to ask the alleged father - the reason why he called him back to himself, forcing him to an unwanted clarification that will bring completely unexpected effects and drifts.
This brings us to the turning point, which from a bittersweet dramedy with a good dose of sarcasm on the parenting dynamics projects us towards an unexpected survival movie full of blood, pyrotechnic deaths and splatter scenes. What triggers this sudden change of pace and register we do not reveal it to you. Suffice it to say that the unsettling twist that makes 'turn to Come' Daddy is very similar to that seen in a feature film by M. Night Shyamalan ...
From here on, in terms of violence and gory details, nothing is missing. There are men chained and pierced with ballpoint pens soaked in human excrement, there are those who ambulate dragging one foot after another, aimlessly, with part of the brain exposed, and those who are pierced from cheek to cheek by a pointed card holder, while a small group of naked and highly promiscuous 'geologists' assist in shock and fear. There are severed heads, torture and dislocated limbs ... And while all this is happening, we also witness the paradoxical transformation of Norval, who finds himself in spite of facing increasingly absurd situations in what can be defined as a grotesque transition to 'adulthood' . In short, patience rewards!
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