Come To Daddy: Neon NZ Film Review
Incredibly Strange programmer and industry stalwart Ant Timpson's directorial debut is a strange slice of sentiment mixed with the usual gonzo horror gore you've come to expect.
A terribly haircutted Elijah Wood is Norval, a hipster musician who's called back to his father's side after a letter shows up without warning decades after they were last seen. But upon Norval's arrival, his father is a crude and unsympathetic father figure, apparently disinterested in his son, but fervently keen in abusing him and mocking his musical success and limited edition Lorde designed phone.
However, things take a turn for the dramatic as time goes on.
To say more about Come To Daddy is to rob the ride of some of the uncertain richness that's portrayed within. And that's kind of the point of most of the film, as it toys with the intimate and preys on the audience expectations.
But what Timpson's delivered, along with writer Toby Harvard, is a film that ripples in parts, and feels under-explored in others as it bends genres and audience hopes.
Shot in close up styles, and with a cast that's best described as intimate, rather than sparse, there is more of emotional heft than you'd expect as you watch Wood's uncertain Norval try to impress his father and reconnect. Wood channels awkwardness and misplaced bluster as he tries to show off, and the excruciating scene is made even stronger by some tautly shot moments and some wide angles suggesting the divide between them.
Apparently, there are autobiographical elements within, and one senses the early scenes speak to a generational gap that has been witnessed for years as families try to reconcile their hopes for their siblings / paternal relationships.
Timpson makes great fist of the claustrophobia here and there, and never loses the propensity for laughs - obvious or otherwise (a plastic bag on a beach being one of the chief examples).
But when the film moves out of the confines of its dramatic journey and into genre areas it's destined to fulfill, it loses some of the scope that's kept it together as it looks to satiate an audience seeking a gore quota and a sleaze factor.
The payoff is an interesting one, and one which speaks volumes to the relationship, but which to discuss more is to spoil - ultimately, Come To Daddy may offer a Friday night's worth of entertainment, but it's never as gory or as humorous as it could or should be.
And for that element alone, it's more of a sentimental film than you'd ever expect from Timpson et al - and all the more interesting because of it.
A terribly haircutted Elijah Wood is Norval, a hipster musician who's called back to his father's side after a letter shows up without warning decades after they were last seen. But upon Norval's arrival, his father is a crude and unsympathetic father figure, apparently disinterested in his son, but fervently keen in abusing him and mocking his musical success and limited edition Lorde designed phone.
However, things take a turn for the dramatic as time goes on.
To say more about Come To Daddy is to rob the ride of some of the uncertain richness that's portrayed within. And that's kind of the point of most of the film, as it toys with the intimate and preys on the audience expectations.
But what Timpson's delivered, along with writer Toby Harvard, is a film that ripples in parts, and feels under-explored in others as it bends genres and audience hopes.
Shot in close up styles, and with a cast that's best described as intimate, rather than sparse, there is more of emotional heft than you'd expect as you watch Wood's uncertain Norval try to impress his father and reconnect. Wood channels awkwardness and misplaced bluster as he tries to show off, and the excruciating scene is made even stronger by some tautly shot moments and some wide angles suggesting the divide between them.
Apparently, there are autobiographical elements within, and one senses the early scenes speak to a generational gap that has been witnessed for years as families try to reconcile their hopes for their siblings / paternal relationships.
Timpson makes great fist of the claustrophobia here and there, and never loses the propensity for laughs - obvious or otherwise (a plastic bag on a beach being one of the chief examples).
But when the film moves out of the confines of its dramatic journey and into genre areas it's destined to fulfill, it loses some of the scope that's kept it together as it looks to satiate an audience seeking a gore quota and a sleaze factor.
The payoff is an interesting one, and one which speaks volumes to the relationship, but which to discuss more is to spoil - ultimately, Come To Daddy may offer a Friday night's worth of entertainment, but it's never as gory or as humorous as it could or should be.
And for that element alone, it's more of a sentimental film than you'd ever expect from Timpson et al - and all the more interesting because of it.
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