It was a difficult year for movies, and many films were delayed, which made 2020 feel less impressive than it could have been. Still, there were some unexpected highlights—movies that I hadn’t anticipated enjoying as much as I did, or ones that ended up being even better than expected. Jacob Chase's directorial debut is among those pleasant surprises. Initially, the premise and cast didn't entirely convince me, but I decided to see it anyway, as it might have been my last chance to experience a film in a theater this year. If that turns out to be true, then it was a memorable final moviegoing experience. *Come Play* proved to be one of the biggest surprises of 2020. While there are many things I appreciated about it, the film isn’t without its shortcomings. The standout element is Azhy Robertson's performance as Oliver, a non-verbal autistic child. Having spent time with a young girl on the autism spectrum, I was struck by how realistic Azhy’s portrayal felt—so much so that I initially believed he was actually autistic. It was surprising to learn that it was purely an acting achievement. John Gallagher Jr. delivers a solid performance as well, though his screen time is less than Gillian Jacobs', who plays Sarah. She isn't terrible, but her performance falls short during the more emotional scenes. While she excels in the horror sequences and contributes to the suspenseful atmosphere, she struggles to convey genuine feeling when the film calls for it. The other children in the movie aren’t always convincing either, which is not unusual for young actors. Despite some uneven performances from the cast, the story behind Larry, the "misunderstood monster," remains captivating. The social commentary is clear and adds another layer to the film. Jacob Chase's dedication to his work, based on his own short film, is evident in the numerous small details throughout the movie. I found myself deeply invested in what was happening. However, Chase occasionally repeats scenes intended to convey this message, which can feel heavy-handed and forced. This issue is somewhat balanced by innovative horror sequences that creatively use modern technology to create a tense environment. There aren't many jump scares, but those present are effective. Ultimately, it’s the suspenseful atmosphere that elevates the overall horror experience. Chase also uses longer shots, which keeps viewers on edge thanks to excellent camera work and editing. The score (by Roque Baños) is generally good, although there are moments when the music unexpectedly shifts into a more upbeat tone. A clever technical choice was made regarding the visual effects. Given the film’s low budget, showing the monster clearly in daylight would have been unrealistic. Instead, the filmmakers acknowledged the limitations of the VFX and cleverly “hide” the monster using dim lighting and reveal him during nighttime scenes or through smartphone/tablet cameras. While this might disappoint some viewers expecting a traditional monster movie, I found it to be an intelligent solution. At its core, *Come Play* is more of a family drama than a typical horror film. It strives to offer something unique, and I believe it came very close to being one of the best films of the year. The depiction of the autistic character is remarkably well-handled; not only does the movie show the challenges associated with this condition, but it also highlights the extraordinary qualities that people on the autism spectrum possess. Even though Oliver can’t speak, he's exceptionally clever, fun, and brave—qualities I believe are often overlooked by society. The ending is both unexpected and emotionally resonant, leaving viewers with a bittersweet feeling. Overall, *Come Play* is one of my favorite surprises this year. Jacob Chase demonstrates his skill as a filmmaker, presenting a captivating story that stands apart from the usual horror fare. By prioritizing the emotional narrative over formulaic scares, the horror sequences have more impact because audiences connect with the characters, particularly Azhy Robertson’s performance, which is among the best by a young actor in 2020. The rest of the cast doesn't quite measure up, especially Gillian Jacobs. The social commentary is important and effectively conveyed, although Chase sometimes overdoes it, resulting in scenes that feel forced. Technically, the suspenseful atmosphere stands out more than the few effective jump scares. It concludes with a surprisingly bold and emotionally bittersweet moment. If you’re looking for a Halloween movie and don't expect a monster-filled scarefest, I highly recommend *Come Play*. Rating: B+

Source on TMDB