Daddy's Head

Now, I always say, it ain't about a picture show havin' a story that's been told before. What matters is how they tell it. Pictures, they're all about spinning a yarn, see? It's a tradition passed down from our ancestors, gatherin' 'round a fire in them caves, tellin' tales and paintin' on the walls.

And that's where director/writer Benjamin Barfoot, he shows his stuff. "Daddy's Head," it ain't the first picture to tell this kind of story, and it don't pretend to be. But the way Barfoot handles it, with his camerawork and set design and sound, it's like he's pieced together a masterpiece outta bits and pieces. And the result, it's a picture that keeps you hooked from the first flicker to the last.

Now, gotta give credit where credit's due. Young Rupert Turnbull, he's a real find. Been trainin' himself since he was five years old, they say, on TV, in pictures, even on the stage at the National Theatre. There's scenes in this picture where he carries the whole thing on his shoulders.

This film, it follows in the footsteps of "The Babadook" and "Under the Skin," and does a mighty fine job of it. It's proof that SHUDDER, they're still churnin' out quality pictures to keep us entertained this year.

One of these days, I'm gonna buy myself an island and call it SHUDDER Island, and I'm gonna have SHUDDER pictures playin' there 24/7.

The film seems to set itself up in the first 2 acts to deliver some interesting history on the characters. It drops ambiguous tid bits relating to past trauma and connections between characters both dead and alive that pique the interest.

It then never eventuates to anything.

What is the connection between the father's work as an architect and the way the creature is presented? How are any of the characters related? Why should the viewer care about the fate of anyone when there is little semblance of character development? The creators of this film must have run out of time or budget because the script doesn't just feel ambiguous, it feels unfinished.

The cinematography is absolutely beautiful and creates tension and suspense which is utilised well with some creepy and scary moments. This would have been enough to salvage the film but for the ending that undoes the little character development seen previously. It instead opts for a nonsensical deus ex machina reminiscent of the ending that was re-shot for the British release of 'Invaders From Mars (1953)'

Laura (Julia Brown) inherits a house in the middle of the woods from her late husband. Her young stepson Isaac refuses to talk to her. Her husband insisted on being buried with his previous wife on the property. They find an unusual wooden structure in the woods.

I like the isolation and the brooding moodiness. It starts with a good concept. There is good potential for a horror thriller. They could do more with the guardianship. They could also do more with the woods. If he gets lost in the woods overnight, the threat of losing guardianship could rise. In the end, the movie doesn't push beyond a few good ideas and the general spooky vibes.

In case you're wondering, no, this is not a movie about a haunting, possession, zombie or another 'Pet Sematary'. There is a very subtle scene that edges more towards an alien movie, but its also not that kind of movie.

'Daddy's Head' revolves around the loss of a loved one. In this case, young Isaac is longing for his father, James, who passed away after a car accident. James recently got married to Laura, now Isaac's stepmother. When James dies, Laura considers sending Isaac to an orphanage, because she is convinced Isaac "hates" her. The two of them don't really get along, and is aggravated by James' absence.

When something starts lurking around the house at night, Isaac is convinced it is his Dad, who has come back for him, although he looks different - he has the same head, but a different body. The 'creature' is creepy and the sound effects are very good and scary.

The characters are well set up to make their actions believable. Rupert Turnbull delivers a strong performance as Isaac, and we root for him even though we know he is in the wrong. And then there's Laura, who not only has to come to terms with the loss of her husband, but also having to deal with Isaac. She confides in her friend, Lucas, which causes more friction between them. Apart from the supernatural horror, this is also a character study.

Over-analyzing the film will result in too many questions, like why the creature chose Isaac, how did he manage to resemble James, and what did it stand to gain by misleading a young boy? Rather just sit back, and enjoy the film for the creepy ride and unpredictability, with jump scares galore!

By the halfway point, this film had done little to captivate. Pushed through hoping for more, but apart from the slightest case of the creeps there was nothing.

Pros: The concept. Creepy monster adopts the face of a recently deceased loved one to lure relatives to its lair. Potential for days.

Creature design (barely). Unfortunately, we're given barely a glimpse of the thing, which is a pity because it's the best thing about this film.

Cons: The acting. From underacted to overacted to downright wooden, none of the performances did anything to hold my attention.

The characters. No redeeming factors, nothing to elicit sympathy. Two dimensional. The predominant feeling is one of dislike. When you don't care if the characters live or die, what's the point of watching any more?

The monster. What is it? Where does it come from? What does it want? In the end, I was only holding on for answers to these questions, and I got nothing.

The pacing. Paint dries quicker.

I get the sense they were trying for some grand metaphor, but overall it fell pretty short. After everything, the ending feels pointless.

Disappointing.