" Whenever I run across a funny name I like to poke around for a rhyme, don’t you? "
— Gary Cooper, Mr. Deeds Goes to Town

MRQE Top Critic

The Nomi Song

This skinny German has a breathtaking voice and a wardrobe that would put Marilyn Manson to shame —Nick Reed (DVD review...)

Klaus sings the Nomi Song

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Come out and Play almost achieves a chilling creepiness, compounded by a 2012 R rating’s permissiveness. But in a single moment, “chilling” becomes “exploitive,” “defensible” becomes “contemptible,” and a willing audience becomes a roomful of chumps.

A couple traveling in Mexico rent a boat to go to an island called Punta Hueca (“hollow point” - take your pick on the meaning). When they arrive they find out all of the adults are gone and all of the children are creepy. Ebon Moss-Bachrach and Vinessa Shaw keep us on the edge of our seats as they explore the haunted village. They slowly discover that the children have killed almost all of the adults, and that our two protagonists — including the pregnant wife — are alone among the killers.

The movie’s setup seems overly long — it’s about 50 minutes before Beth and Francis meet meet someone who knows what’s happening, and another 20 minutes before the slow-simmering tension starts to come to a head. The movie needs tighter editing, but it tries to make do with heavier music on the soundtrack. Still, a good premise and some deliberately slow revelations keep a forgiving audience engaged.

After all, there are some really good horror ideas here. If our protagonists kill the children, how can we consider them protagonists? Good people don’t kill children — probably not even in self defense. Yet at some point if you are being attacked, you must fight back, no matter who is attacking you. That’s a creepy-as-hell premise and worthy of a good horror film.

Based on a 1976 Spanish horror film, Come out and Play is made by writer/director “Makinov,” who seems to be using his pseudonymity as a marketing ploy. My own pet theory is that Makinov (or his predecessor) made a bet that he could write a screenplay that ended with a white man beating to death a brown boy on an island resort and still make his audience sympathize with the white man. It’s a pretty damned amazing feat, but in order for that truly horrible outcome to work, the story has to be perfect. Come out and Play walks a fine line — will the audience be devastated by the Sophie’s-Choice-on-sterioids scenario, or will they be punk’d by a self-promoting filmmaker trying to score cheap points?

Unfortunately, all of the film’s qualities disappear into irrelevance when Makinov’s screenplay tears a gaping hole in its own rules. The scene in question wants to be a horror climax. But it goes too far and breaks the laws of the universe that the movie had established. Plausibility gets up to leave the theater, along with our emotional investment in the troubling and creepy scenario.

Not to say too much, but the children of Punta Hueca never had superpowers — they just used whatever was at hand to kill the adults. What had changed was not their abilities, but their moral compass. That’s a great idea, one that also worked for Lord of the Flies and Village of the Damned. But when for the sake of a gratuitous bloodbath, the youngest child gains super strength, the social relevance disappears, the chilling idea disappears, and we’re left with, ultimately, a disgusting, child-exploiting slasher film without the backbone to justify the horrific ending.

I suppose it’s possible that that’s exactly what Makinov was going for — making his audience endure child torture without any redeeming social merit. But a little more thought and care could have given him a defensible position and allies in the audience. Instead, Come out and Play plays its audience for chumps.

  • Jonathan: I just watched this movie and I can't for the life of me find the "superpowers" ending? Can you please explain further what you mean. July 1, 2013 reply
    • Marty Mapes: Happy to (spoiler alert in effect). Maybe you can tell me if I missed something. There is a point where the fetus kills its mother. Scary, yes. Creepy, yes. But imagine a preemie; what sort of power does it have -- let alone any sort of "will" on which to deliberately act in an evil fashion? By the same token, what is a "good" fetus? At that stage of development, good and evil are meaningless. It's like saying that an evil hamster decided to kill its owner. Just because it's evil doesn't mean it's capable of doing any harm. Even in this Twilight Zone world -- which I was willing to accept -- how is it possible that a fetus could do anything other than gestate? No, I don't think I missed something; I think the screenplay did. July 1, 2013 reply
  • Zane Ullman: So what you have is a problem with the original script and not Makinov.

    I wouldn't even say this movie is based on Who Can Kill a Child? as much as it is a flat remake. Did you see the original? September 16, 2013 reply
    • Marty Mapes: Hi Zane. I did not see the original. Thanks for the clarification. September 16, 2013 reply