Movies
[BD Review] Tropical Island Horror ‘Come Out and Play’ Brings The Intensity
If a film is to be remade, it should at least have a unique, new, modern spin that qualifies the decision to revisit the property. Making a nearly scene-by-scene reenactment doesn’t make any sense, especially when it didn’t work the first time around. Such the case with Come Out and Play, the remake of the Spanish 1976 Who Can Kill A Child?. The original is deeply flawed, and could have used a boost by a visionary filmmaker; unfortunately it got “Makinov.”
The Mexican remake, with English speaking leads, follows a couple (visiting Brazil during Carnival) that rent a boat and head to a serene tropical island for an intimate getaway. Upon arriving, they learn the island is near-deserted, sans a scatter of malevolent looking children. They slowly realize they’re in the middle of some bizarre event… the kids up and killed everyone on the island, and nobody stopped them because, who could kill a child? The duo is trapped and in the middle of the chaos, which plays out like a zombie flick.
Director Makinov basically follows the original step for step, sans a small twist involving the pregnant protagonist and her baby. The idea is really, really cool, and most of the film is incredibly unnerving, but Makinov does nothing to progress the story in a new/better director. If anything, it feels a little trite. Even the “shocker” of an ending is dull, having been done so many times before.
The movie’s strengths come in its intense graphic content (watching dozens of kids stab an old man to death, and then drop a rock on his head, is pretty intense) and astounding production locations. The audience will literally feel like they’re on the beaches, something that adds a massive amount of believability to the film. There are strong performances by the lead couple, not to mention the rash of evil children (anyone who works in film can tell you how hard it is to work with, and get quality work out of them).
While the remake doesn’t progress the story in any positive direction, it’s still pretty good and something easily recommend. If anything, Come Out and Play is generic to the core, a cut and paste horror thriller that still manages to deliver on both production value and intensity. And while most of the remake is a slow burn, the finale will have most viewers on the edge of their seat in absolute shock. Could you kill a child?
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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