Parents always ask their children to listen to them. But are parents willing to listen to the child? Through his own adaptation of the short film Larry (2017), Jacob Chase, as director and scriptwriter, raises the above issue, in a typical Amblin horror package that combines terror with family stories. The results are far from optimal, but an injection of the drama’s elements keeps Come Play from drowning in the midst of a rush of horror that refuses (and will never) recede. Top Movie Site
Given that this is an Amblin production, it should come as no surprise that the film has a child protagonist. Oliver (Azhy Robertson) is a person with nonverbal autism, who requires him to use a smartphone application to communicate. This condition makes it difficult for him to have social relationships, as a result of being labeled strange by his classmates. At home, the situation wasn’t much better. The mother, Sarah (Gillian Jacobs), is often involved in an argument with her husband, Marty (John Gallagher Jr.). Sarah felt that Oliver, who was reluctant to look Sarah in the eye, hated her and loved her father more. Even though Sarah thinks Marty was never present to care for their son together.
Until one night, a mysterious application called Misunderstood Monsters appeared on Oliver’s smartphone. The application contains a story about Larry, a monster who wants to make friends. Soon, Oliver experiences strange events. Predictably, everyone initially didn’t believe Oliver’s story about Larry. From there the film repeats the scenario, where a skeptical character opens the app, is visited by Larry, and finally believes. Best Movie
Three times the scene is repeated, making Come Play’s storytelling tend to be repetitive. In fact, a pile of topics has the potential to be explored, from the dynamics of children and parents (Sarah, who is often selfish, overprotective, and has high expectations, because her son is normal), to criticism of human dependence on technology, which makes them more frequent. see a screen rather than another human face.
Fortunately, the repetition was always accompanied by quite effective terrors, thanks to the director’s foresight in playing the timing of Larry’s appearance. Instead of being tempted to always step on the gas with loud looks, Chase tried to read the audience’s expectations. Every now and then those expectations were followed, and Larry lurched in exactly the way he expected. But on another occasion, Chase was able to hold back, let the audience observe the situation, in order to build a solid intensity. Several times, Chase has also used several technologies, such as photo applications and distance measuring devices (the use of which is always implied first), to keep his terror from becoming monotonous. Movie Review
However, as if running out of ideas, the Come Play climax is here the most mediocre part, where “hide and seek” and cliché cat and mouse are the mainstays. The climax also raises a hole related to the “rules” about the appearance of Larry, who is described as being able to enter the human world through electricity. Is there a certain distance that Larry can reach from the power source where it appears? Oliver takes Sarah to a field where there is no electricity. But Larry can still appear from Oliver’s smartphone, even chasing the two of them into the forest, which incidentally, also has no electricity.
Luckily, Come Play concludes with a satisfying conclusion, which provides “forgiveness of sins” for one of the characters, while adding emotional weight to the family drama. A lot of horror ends with elements of drama (or romance), but few are particularly flavorful. Come Play is one of the successful ones.