The Harvest (released as Can't Come Out to Play in Europe) [1] is a 2013 American horror thriller film released by IFC Films that was directed by John McNaughton. A couple who keeps their sick son in a secluded environment find their controlled lives challenged by a young girl who moves in next door. As their friendship begins to evolve, Maryann tries to come to terms with why Andy's mother doesn't like her and doesn't want her there. The film’s underlying is a positive one; despite the unhappiness felt by many in the film they all act unselfishly, or at least that’s probably what they’re telling themselves.

The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. She desperately tries to get her deceased son out of the burning house, but is unsuccessful when the roof collapses on them. He does get a 1-up on her at one point and it’s a great little moment, you’ll cheer him on and then realise you’re genuinely terrified for his safety. The psychopathy of Andys mother is so awful it’s hard to watch at times but the performance is truly commendable.Played by Natasha Calis, the young Maryann who befriends Andy represents the modern female; she is strong-willed, brave and fearless. This is clearly NOT for the less CONTEMPLATIVE VIEWER, as evidenced by the baffling reviews perceiving it as slow. As Andy is very sick he must stay within his home per the instructions of his mother, Katherine ( Samantha Morton), who also forbids him from having any visitors. She represents the traditional idea of woman’s role; the one that states women are to be good housewives and must dote on their husband and children. She becomes unhinged when she learns that her new neighbour (Natasha Calis) has secretly befriended the boy, and has been encouraging behaviour she doesn’t approve of.

would be really shameful to be associated with anybody in this visual sewage, and being related to any of the associated people would probably make me cutting ties and drift away, changing name and all. A frantic Katherine, refusing to accept that there is no hope for her son, subdues Richard with a sedative and pursues the children.You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. The script seems a little thin in places and the characters of Maryann’s Grandparents could have been fleshed out (and acted! Reeling from the loss of her parents, the teenager Maryann ( Natasha Calis) moves in with her grandparents, and is grateful when she manages to befriend Andy ( Charlie Tahan), a boy who uses a wheelchair. It may seem like a bit of a chore at times, but there is a lot to enjoy in this quietly terrifying, character-driven horror thriller and it’s worth watching for Samantha Morton’s performance alone. As the mother, Kathleen’s only desire and drive comes from treating her ill son, and without that, she will lose her identity.

There was some fine acting from the youngsters Charlie Tahan and especially Natasha Calis as the friend who puts everything on the line to rescue him. That being said, the film seems to intertwine between two families and the maelstrom of chaos that unravels. I agree totally with other reviews who say that it is definitely a thriller but the suspense doesn't build steady enough which ruins it.

Clearly we all have different ideas of excellence, but writing as someone not knowing anything about this movie, prior to viewing, I have to agree it’s NOT A HORROR movie, but IT IS AN EXTRAORDINARY PSYCHOLOGICAL THRILLER, which from beginning to end traces a brilliantly well executed and acted entry into the world of a crazed mother/physician played so well by Morton. A dazed Richard heads down to the basement, and, after unplugging his son's ventilator, sets the basement on fire and lies next to his son. As an Oscar nominee, Morton is capable of far more than this script provided and rather than letting the tension play out naturally, certain scenes were definitely over-acted.