‘Come to Daddy’…That sound which prior to this film, seemed to float between pervents and loving parents. After COME TO DADDy, it means simply the horror of legacy. Elijah Wood duplicates the role from MANIAC, in a tale of a young man called  Norval Greenwood. Disconnected from his way would father Gordon (Stephen McHattie), he is asked to visit him for a holiday Gordon seems distant and distracted. He seems to like confrontation and control. When one incident leads to a meat clever being drawn, it seems that dads gone over the edge. That is until he dies from a heart attack. Now Norval is stranded in a house that is not his and with the embalmed body of his father left with him. Then suddenly over night, noises can be heard. Bumps and bangs. Then groans can be heard. In searching the house, he finds a photo album. The pictures in teh album show him and his father. However the pictures are not of Gordon but someone else…

I could call COME TO DADDY, a delightful gear change in the genre field but that would be over selling it. I would prefer to say that its much more a blend of black comedy, horror and genre conventions there in. It starts as a simmering pot boiler of familial tension. Fathers and sons are often at war on screen but here they are deliciously monsterous. Reminding me of modern angulation of the priveldged baby boomers calling everyone else a ‘snowflake’. Well this then slides into a twisted tug of war between interested parties. A device that slides comfortably in and out. Of course the main reason for this is that Elijah Wood has stripped down his role enough to make the events happening around him, play out without abrasion. The script is lean. Tailored to compliment the piece and give its director, Ant Timpson, the ability to director with zing. He takes it. So in my humble opinion, best horror fusion from the Fest and of the year…


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