With a title like Come to Daddy, there’s already an expectation that the film bearing it will be some level of weird. But then you factor in that it was written by Toby Harvard, the mind behind the completely bonkers The Greasy Stranger and unnerving “G is for Grandad” segment in ABCs of Death 2, and directed by Ant Timpson, producer of genre faves like The Greasy Strangler, Turbo Kid, and Deathgasm, it’s pretty much a guarantee that Come to Daddy won’t be your average midnighter. Beyond a surefire trip into the bizarre, nothing else about this film is predictable – I mean that in the best possible way.
Come to Daddy stars Elijah Wood as Norval, a troubled thirty-something living at home with his mother. When he receives a letter from his long-estranged father requesting he travel out to visit at his remote waterside home, Norval doesn’t hesitate despite his father practically being a stranger to him. A recovering alcoholic with deep-seated issues, Norval is desperate to reconnect with dad. His expectations are immediately shattered, though, when he finds dad (Stephen McHattie) heavily reliant on booze and contemptuous at best. Norval’s desire for an emotional bond with dad turns into a waking nightmare.
Just when you think you have your fingers on the pulse of this thriller, Timpson pulls the rug out from under you. There’s no accurate way of predicting this narrative’s trajectory and what insanity is in store; this is a genre-bending poster child of a thrill ride. All of it is tied together by one peculiar, macabre sense of humor.
Wood and McHattie are tried and true performers, especially when it comes to more eccentric fare. Norval is a pretentious L.A. type, bragging to his dad about his famous friends and snazzy lifestyle, while quietly confessing to suicide attempts and addiction struggles. In other words, he’s a Bullshit Artist that would be a completely unlikable character in a lesser actor’s hands. Wood can play the douchey type with an earnestness that makes him endearing despite his flaws. The always charismatic McHattie plays Norval’s dad with a wild edge; he feels slightly dangerous and unhinged. Watching McHattie and Wood play off each other is magic.
Then there’s the stunning waterside setting. Despite all of the ugly within the narrative, this is one beautiful film. It’s not just due to the gorgeous location, but largely because of the cinematography by Daniel Katz (My Friend Dahmer, Funny). Come to Daddy is bold, crisp, and colorful; somewhat unusual in films of this ilk. It’s as arresting as the story and performances.
Timpson’s feature debut is impressive. It’s not easy to mash together so many genres into one film and have it work, but Timpson makes it seem effortless with his strong vision. The film’s pitch-black comedy, something that Harvard and Timpson do so well, is what pushes this over from fun thriller to insane crowd-pleaser. But for all of the absurd thrills, chills, and guffaws, there’s a poignancy beneath the surface that makes for a perfect counterbalance. Norval’s desire for acceptance and an emotional connection with family is affecting, and a through line that adds depth to one zany, unpredictable, and perpetually entertaining thriller that defies classification.
Editor’s Note: This Tribeca review was originally published in April 2019.
