Come to Daddy (2019)
Directed by Ant Timpson
After receiving a cryptic letter from his estranged father, Norval travels to his dad’s oceanfront home for what he hopes will be a positive experience. If only he’d known the dark truth about his old man beforehand.
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3 films that influenced Come to Daddy
What critics say influenced Come to Daddy
Ant Timpson is making his feature directorial debut here, but he’s been a relevant voice as a genre producer for years now helping shepherd absolute gems like Housebound (2014), Turbo Kid (2015), and Deathgasm (2015) into existence.
Timpson, making his directorial debut here, is best known for producing the ABCs of Death anthology series, Turbo Kid , Deathgasm and (a movie I loathed) The Greasy Strangler .
As one can imagine, it’s not really easy writing a spoiler-free review for a film were a great deal of the entertainment comes from not knowing what comes next, but I can give you a reminder that aside from this being Ant Timpson’s narrative directorial debut (coming from his own warped mind but written by Toby Harvard), he has also served as a producer for equally bizarre and violent flicks such as Turbo Kid and The Greasy Strangler, of which Come to Daddy assuredly fits.
Timpson makes his feature debut with Come to Daddy , which follows the same frenetic, gross-out loopy path of his work as a producer ( Turbo Kid , The Greasy Strangler ).
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.
This is the directorial debut of Ant Thompson, one of the producers of Turbo Kid and a contributor to The ABCs of Death franchise.
Likewise, with Wood having produced Mandy, there are echoes of that Nicolas Cage-fueled psychedelic thriller here as well.
It's psychotronic comfort food that may never reach the hallucinatory heights of Mandy (2018) or this year's Color Out of Space (both produced by Wood's SpectreVision), but never aims to.
Since then, he has worked on more genre films like “Grand Piano” until he started his own production company (with Daniel Noah and Josh C. Waller) called Spectrevision; which produced fantastic films like “Mandy”, “The Greasy Strangler” and “Colour Out of Space”.
He seems to be emulating Nicolas Cage in his offbeat acting choices, and has even produced two of the actor's recent films, Mandy and Color Out of Space .
Instead, Wood opted for major roles in films like the deeply underrated Maniac remake (2012), Grand Piano (2013) and I Don’t Feel at Home in This World Anymore (2017), not to mention producing a slew of bizarre, violent flicks like The Greasy Strangler (2016), Mandy (2017) and Daniel Isn’t Real (2019).
As a producer he consistently makes far-out choices ( Mandy , Color Out of Space ), and as an actor he dares to show up with a haircut even worse than his permed Frodo.
Come to Daddy structurally resembles Edgar Wright’s The World’s End , which became a lurid fantasy at the moment that its antihero’s illusions were shattered.