Creepy Concept, Lackluster Story: A Movie Review of “Come Play”
"Come Play" was entertaining and had some great ideas about how to scare children away from playing with facial recognition settings.

It’s 1919. The war is raging in Latvia and bodies pile high. A young rifleman’s (Thomas, 30) cold body is placed on a floor inside a mysterious sculptors' studio. Thomas wakes up with his head locked inside a cast and tries to find a way out from the dark room, but soon enough realizes that he is not the only one, who has woken up. The Ghost mother, a pagan goddess of death, tries to pull the young man into the afterlife. Meanwhile, the sculptor places Thomas’s death mask next to the others.
"Come Play" was entertaining and had some great ideas about how to scare children away from playing with facial recognition settings.
So with the recent (rightful) public apologies to Britney from comedians and media for trashing her image in the 2000s, perhaps some people should also give Crossroads the fair chance it deserves. It won't be everyone's cup of tea, and that is fine. Personally, I will take my girl Britney and her movie, over the next testosterone "Dude Flick" any day.
What can I say about this Will Ferrell/Julia Louis-Dreyfus-led “dramedy?” Well, the comedy part of Downhill is completely non-existent. And I should have known that the film was a flop when I walked into an empty theater at a prime time on a Friday night.
'The Lost Daughter' doesn't paint over the choices Leda and Nina make as mothers as right or wrong but examines the messy in-between.
Gay representation is out there, but to portray a character who's gay as a big, happy brute is a rare treat.
Haven't you heard? There's a new horror subgenre: cerebral gore, that's probably been around for decades and we're now just starting to talk about it.