Written by Makinov
Directed by Makinov
Mexico, 2012
The remake debate rages on in the world of film to this very day. Although at this point it’s not much of a debate, the majority of film lovers have had enough of remakes. While that is a respectable position, it’s not an argument that holds up to any intense scrutiny. The landscape of film has always been built upon unoriginal projects. Whether it’s a remake, an adaptation, a sequel, or a prequel has no actual bearing on the quality of the film. What matters is what the people behind the film put into its production. Come Out and Play is a remake, as well as an adaptation of a novel,¿Quién puede matar a un niño?. Such practicalities aside, what matters most is whether the movie’s any good. Specifically: does Come Out and Play manage to be anything more than a rinse, lather, repeat, shot-for-shot emulation of its predecessor?
The answer isn’t pleasant. The bus comes up just short of a stop at abysmal, but it only misses that stop by a few feet. There’s a banality to Come Out and Play that is going to be very hard for any viewer to get past. Not only does it come across as “been there, seen that,” the film lacks any punch. Originality is not needed, but what is needed is a film with some verve that adds to the original in ways the audience wouldn’t expect. Come Out and Play decides to keep things safe and easy. It copies just about every moment from ¿Quién puede matar a un niño?, but it changes those moments just enough so this version lacks the edge of the original. There is more gore, but it’s pointless blood that adds nothing. There’s also a decided lack of atmosphere, dread, and allegory. Come Out and Play has no meaning behind its violence, or its horror veneer. It is, at its heart, nothing more than a simple chop-’em-up fest that lacks the allegorical context of a better horror film. There’s no better evidence of this than in the terribly botched ending.
The production values of Come Out and Play are the only facet that could be seen as positive. Yet, the production values lack a necessary rawness. Makinov’s film is too slick, too well-made, and too much of a product. Come Out and Play is the product of a singular vision. That vision just happens to be of the chromatic variety. Crisp camera movements and digital coloring rule the roost in Come Out and Play. For some, that may be a worthwhile quality, but in a film that should be dingy and dirty, such cleanliness helps to knock Mr. Makinov’s film down a few more pegs.
A remake is a remake, and a film is a film. All one should ask of a remake is the same as what they should ask of any other film. All any film buff should ever want is a worthwhile experience. That can entail many things, but it should never mean that the viewer is stuck watching a sanitized horror film that is a terrible advertisement for modern horror filmmaking in the digital age. If creepy kids are your thing, then I suggest avoiding Come Out and Play, because it’s neither creepy or well-made.
-Bill Thompson