Classics: A Review of The Nightmare Before Christmas By Lauren Ennis

The hills are alive with creepiness

For generations of children, fairy tales have served as an introduction to the art of storytelling. The most enduring fairy tales are those that combine memorable adventures with timeless life lessons. Unfortunately, many children’s films and books have lost sight of the function of stories to teach while entertaining, and are little more than time consumers. One recent film, however, managed to relay a classic fairy tale message while telling an innovative tale. 1993’s The Nightmare Before Christmas is a truly unique film which takes the familiar clichés of family films and turns them upside in a way that audiences won’t soon forget.

The film opens in typical fairy tale fashion with a narrator transporting the audience to a magical world in which each holiday has its own unique universe. The narrator then introduces the audience to Halloween Town and its host of ghoulish inhabitants as they celebrate their annual Halloween spectacular. At the helm of the festivities is the “Pumpkin King”, skeleton Jack Skellington (Chris Sarandon). Despite being the town’s undisputed master of fright, Jack is a sensitive and creative soul in desperate need of understanding. While the town’s residents see his enviable success and categorize him as someone “who has it all”, Jack is actually in the midst of an existential crisis. Although he is aware of and grateful for his success, he finds himself unable to gain any satisfaction in his life and finds himself becoming increasingly apathetic. Fellow outsider Sally (Catherine O’Hara), a Bride of Frankenstein-esque rag doll, understands Jack’s isolation but is unable to overcome her crippling shyness in order to reach him.

After going through the motions as head of the Halloween festival, Jack goes for a long walk in hopes of clearing his mind, and stumbles onto Christmas Town. For him, Christmas Town represents all of the excitement and wonder that is sorely lacking in his own life. He becomes determined to take the magic of Christmas and bring it to his fellow Halloween Towners. Unfortunately, the locals are unable to grasp the concept of Christmas, and can only view it through their Halloween influenced perspective. Frustrated, Jack sets out to discover the true meaning of Christmas and bring it to his town. Of course, like the other Halloween Towners, Jack’s world view is influenced by his Halloween experiences, which causes him to misconstrue the rituals and traditions of Christmas, including the role of Santa Claus (Edward Ivory). Because of his own indifference towards Halloween, Jack assumes that Santa must be equally tired of managing Christmas and in need of a vacation from his holiday duties. He then enlists the help of juvenile delinquents Lock, Shock, and Barrel to bring Santa to meet with him so that they can arrange to switch holidays. This leads to the kidnapping of Santa Claus and his eventual imprisonment in the lair of homicidal gambler Oogie Boogie (Ken Page). When Jack’s Christmas goes horribly awry, it is up to him and Sally to rescue Santa and save Christmas.

In the twenty years since its release, The Nightmare Before Christmas has become a fan favorite amongst both children and adults. One of the key reasons behind the film’s popularity is its universal theme of being true to yourself regardless of the consequences. While the importance of remaining true to yourself is often repeated to children in conventional tales, the film’s use of truly unique characters ensures that the message rings true. “Be true to yourself” is not a convincing argument to most children when it is coming from a perfectly proportioned Disney princess whom children cannot imagine ever felt like outsiders. This same message is far more relatable when delivered by a diverse group of well meaning, but misunderstood creatures. As a result, children can easily relate to and identify with the film’s characters and are more likely to take the film’s central lesson to heart.

One of these things is not like the other...

The film also serves as a reminder to adults to keep their sense of childhood wonder and passion alive. Jack’s greatest obstacle in the film is not Oogie Boogie as the plot would suggest, but is actually his own set of personal demons. After spending countless years conjuring the same scares and pursuing the same goal, he begins to question the meaning and value of his life. This existential crisis mirrors the same dilemma that adults often face when confronted with life’s disappointments. Like Jack, many people find themselves wishing that they could live someone else's more exciting and satisfying life. Although we need variety and new experiences to grow as people, it is even more crucial that we learn to see the beauty and excitement in our own lives. The film demonstrates this fact when Jack saves the day by embracing his Pumpkin King persona. At the film’s finish, he realizes that he does have a worthwhile life and resolves to make next year the ‘best Halloween ever’, proving that he has finally learned the importance of appreciating what he has.

The film also uses its unique tale to reach out to those suffering from depression. At the start of the film, Jack’s behavior and thought processes are those of a text book case of depression. The culmination of his symptoms causes him to feel isolated and unable to find any enjoyment in activities he once loved. To those suffering from depression, this is an all too familiar state of mind, which requires a great deal of effort and help to work through. Because the film is directed towards children, it explores the issues surrounding depression without coming across as preachy or alienating viewers through ‘after school special’ style theatrics. The film’s kid friendly happy ending also shows that there is always hope for a better tomorrow even if it doesn’t feel that way today. For children who grew up with the film and faced depression in their adolescence and adulthood, the film is a friendly reminder that they are not alone and that having depression, or any other mental illness, does not make them less of a person.

Its combination of an intelligent script, awe inspiring visuals, and a sincere message makes The Nightmare Before Christmas a true family classic. The film is equally entertaining for both children, who will be struck by the catchy songs and unique character design, and adults, who will appreciate the films’ use of internal conflict and darker themes. This film shows just how innovative and inspiring family entertainment can be when in the right hands. So kick off your Halloween season with Jack and Sally, I assure you it will be all treat.

Inspiring Goth girls everywhere

A Retrospect on "Sleeping Beauty" (2011)

Confessions of a Film Junkie: A Retrospect on “Sleeping Beauty”

By: Brian Cotnoir

     Hey All I’m doing another Retrospect on a film I’ve already reviewed.  I decided to re-watch and re-review the 2011 Australian film “Sleeping Beauty”.

My First Impression of the film

How I loathe this film.  I swore after first seeing the trailer for this film that I would never see it.  “Sleeping Beauty” (or “50 Shades of God Awful” as I like to call it) is bad!  I had one reason—and one reason alone—to see this film and that reason is somebody told me that actress Emily Browning was completely naked for a good portion of the film.  That was the only reason I had to want to see this film, and nothing else.  Nothing in this film—besides Emily Browning—was good or “enjoyable”.  The story had too many plot holes, the dialogue made no sense, and it was really freaking boring!  I tore this film to shreds, and I stand by it.  This film had almost no redeeming qualities.

It's So Awful!

My second impression of the film

     So sometime down the road, someone I knew told me they were thinking about checking “Sleeping Beauty” out after reading my review of it, and I told them that it was not worth checking out unless you had a fondness or attraction to Emily Browning.  Somewhere along this discussion I made a comment—jokingly—that the only way I would probably ever see this film again is if I had it on mute the whole time, and what started as a joke took on a life of its own and I decided to re-watch “Sleeping Beauty” in its entirety with the sound off.   

Burning money?  How appropriate, this all the film really did!

    You know what; I actually liked this film slightly better with the sound off.  I didn’t have to listen to any of that awful dialogue, and it was just fun to make up dialogue to the film myself.  Besides that, an added benefit to not having any sound to distract me, I began to notice all the subtle movements of the camera and actors in the background.  It was actually more entertaining that way.  Not to mention I still got to see my porcelain skinned goddess on screen in all her glory.             

What I’d do to make the film better

     Remove all spoken dialogue from the film.  That is the worst part of the film.  I would just have nobody in this film speak, and just let people create their own little stories going off of the actions and facial expressions of the cast. 

My final impression on the film

I did the same thing after watching this film....paaaiiinnnn

I would actually recommend that more people try to watch “Sleeping Beauty” with the sound off at some point, or to just grab any random film and watch it with the sound off and see how much new stuff you notice in the background or how many funny lines you can come up with for the film.  There were still some boring at points in the film, but once those passed it was somewhat tolerable to watch.  So it should come as a surprise to none of you, that I still don’t care much for this movie, it’s a pile crap, and if Emily Browning wasn’t in it, I probably would have never seen it at all.  It’s just an awful film.  I can’t remember the last time a film caused me such great mental anguish.

My Original Review of "Sleeping Beauty" (2011)

Classics: The Life Lessons of Don Vito Corleone By Lauren Ennis

Even the cottonball cheeks don't diminish his badassery

The Godfather trilogy is often considered an American version of the Shakespearean tragedy. Despite the story’s pulp fiction roots, the Corleone family saga is one rife with love, loss, corruption, ambition, and loyalty. The overarching theme of this sprawling multigenerational tale is the importance of family. In keeping with this theme, it is the example of family patriarch Don Vito Corleone that influences his children’s actions both within and outside of the family. Despite his distinctive role as the head of a mafia family, many of the Don’s lessons to his children prove to be surprisingly universal. Through the film’s enduring popularity, many of these life lessons have entered the realm of popular culture and public consciousness. And now, without further delay, here are three of the most effective and timeless lessons from everyone’s favorite Godfather whom no one can refuse (spoilers warning, read at your own risk):

1.     Vengeance is a hollow reward: In the first film’s opening scene, the local undertaker, Bonasera, begs the Don to avenge his daughter’s attempted rape and brutal beating. Bonasera insists that the perpetrators must be killed if justice is to be served. Don Corleone refuses to have the men killed, observing that Bonsera wants revenge and not justice. He reminds Bonasera that his daughter is still alive and as a result, killing her attackers would go beyond the call of justice. He then agrees to punish the men but not kill them, thus providing justice without vengeance. After the Don is shot in retaliation for refusing to invest in a rival family’s drug operation, his children struggle to agree on what course of action the family should take. As weak-willed Fredo is sent to fill a menial job in Las Vegas and estranged son Michael attempts to remain on the fringes of the family business, the decision is left to hot tempered Sonny and adopted son Tom. Sonny immediately gives in to his emotions and demands vengeance, while Tom advocates for a more level headed approach that will maintain peace between the city’s ruling mafia families. Although Sonny’s reaction seems the most natural given the circumstances, it is Tom’s consistent refrain that “this isn’t personal” that echoes the Don’s own sentiments. Sonny’s retaliation goes on to start a city wide mafia war that results in massive losses on all sides; including his own life. Following Sonny’s murder, Don Corleone realizes that seeking vengeance will only lead to more senseless bloodshed and instead opts for a truce between the Five Families.   During the conference between the Five Families, one of the rival Dons demands a guarantee that the Corleone family will not seek revenge. Don Corleone then agrees to this demand saying, “You talk about vengeance. Is vengeance going to bring your son back to you? Or my boy to me?”. This response reminds the conference members that there would be no point in any of them seeking further vengeance, as revenge would not change the past or erase the losses that they have suffered.

The lonesome Don

2.     Never forget where you came from: At the start of the first film, Don Corleone is taking requests for favors from various members of his community. While it is stated that according to tradition the Don cannot refuse a request made on his daughter’s wedding day, the fact that he maintains this tradition demonstrates his desire to remain in touch with his roots. The Don is certainly powerful enough and feared enough to maintain control of his territory without resorting to personal kindnesses. Instead of ruling his empire strictly through fear, however, he earns the respect and gratitude of  his community by remaining in touch with their needs and doing his best to fulfill those needs. It is this policy of earning rather than demanding the respect of those loyal to him that allowed the Don to begin his ascent as the head his own Family and retain this position into his old age. When Michael takes his place as head of the family following his father’s death, it is his inability to replicate his father’s human connection that ultimately proves to be his undoing. Throughout the second film, Michael’s growing isolation is juxtaposed with his father’s active role in his family and community. For example, while Michael cannot take the time to work on his failing marriage, Vito is repeatedly shown interacting with his wife and children. Because Vito experienced a humble life before his eventual rise to power, he is able to appreciate the struggles of those around him and makes a point to remember where he came from. As the son of a Don, however, Michael has only known a life of privilege and power, and cannot comprehend any other life. As a result, Michael treats those around him with indifference and regards them as pawns in his quest for power. It is this disregard for those around him that leads to his betrayal by several family members and sets him on the path to a life of solitude. By refusing to follow his father’s example, Michael seals his own fate and condemns himself to a life that cannot be shared or enjoyed.

3.      There is nothing more important than family: Over the course of the turbulent decades in which the trilogy takes place one thing remains certain; the importance of family. In one of Part I’s early scenes, the Don is asked to assist his godson, Johnny Fontaine with his floundering singing career. After he addresses the immediate problem of Johnny’s career, he asks if Johnny has been spending time with his family. Although Johnny seems to dismiss his godfather’s inquiry as a casual question, Don Corleone reminds him that “a man who doesn’t spend time with his family can never be a real man”. In flashbacks to the Don’s early life in Part II, it is revealed that he was driven to pursue the life of a Mafioso not to obtain material wealth or power, but in order to defend his family. During his childhood in Sicily, young Vito suffers the loss of both his father and brother in a local mafia war before witnessing his mother’s murder at the hands of the local Don. After suffering the loss of his family, he vows to protect those closest to him. When he starts his own family in New York, he fulfills the promise he made to himself years earlier by refusing to let his family suffer at the hands of the local mob boss, Fannucci. After Fannucci demands that Vito pay a tribute that his struggling family cannot afford, Vito becomes determined to eliminate Fannucci and the threat that he poses to his family. When he has reached old age in Part I, he reveals to Michael that his goal as  Don was to provide a better life for his children in which they would not be forced to answer to local bosses and rely upon violence to survive.   This revelation reveals Don Corleoene's unique perspective on family and the American Dream and elevates him from typical mob boss to the complex cinema icon who has continued to captivate audiences for over forty years.

One big mafia family

A review of "The Broken"

Confessions of a Film Junkie: A review of “The Broken”

By: Brian Cotnoir

See it!  It's Art, not Porn. I swear!

     When I was in college my favorite film was this unknown Independent film made in 2006 called “Cashback”.  “Cashback” was originally a short film that was made in 2004 and it actually received on Oscar Nomination for Best Short Film.  The film was so well liked and popular that the film’s Director, Sean Ellis, managed to secure funding to turn his short—twenty minute long—film into a full-length feature.  I absolutely adore and enjoy this film.  It was a film that I’d watch over and over again and each time I would notice something in the film that I didn’t notice before.  I forced all my friends and family to watch this film with me because I wanted to show them how great of a film “Cashback” actually was, and this was the first film I can ever remember seeing that made me feel “intelligent” and like a “film aficionado” because of how well it was made. Two years after the release of “Cashback” Sean Ellis wrote and directed another film—the film that I am reviewing today—called “The Broken”.  So did this up-and-coming director that I had such a great admiration for directing one of my favorite’s films of All-Time have a successful follow up? Well...                             

This film is a bit of a mind-f*ck, but not in a way like Christopher Nolan’s “Inception”, but more in a it’s “too open to many different interpretations”...like Lars Von Trier’s “Antichrist”.  So with that being said, the story of “The Broken” follows the life of a British radiologist named Gina who seems to have a typical life until one day she notices a woman on the street who looks exactly like her and has a car and a boyfriend exactly like hers.  So Gina follows this mysterious woman and discovers that she has her own apartment and a picture with her father.  Gina becomes concerned and takes off in a frantic fear.  She eventually get’s into a serious car accident and when she wakes up she tries explaining to people what she was doing before the accident. Gina seems a lot more paranoid after the accident and believes that there are other doppelgangers that look like her, her friends and her family, are escaping from portals to another world via mirrors and that they want to take over the lives of the people who they look like. Many doctors believe that Gina, possibly, suffered some brain damage or trauma from the accident and that’s why she’s acting so paranoid, but is there a possibility that the person Gina saw is a doppelganger who escaped via a portal between a mirror and the real world, and who wants to take over Gina’s life.                                        

Yeah, know one smiles in this film...it's very dreary

    So this film, like Sean Ellis’s other film has amazing cinematography.  The shots of the car accident are done so well (though they do get a bit repetitive throughout the film).  There are a lot of cool aerial shots of the city of London as well throughout the film.  Also, the shots of the mirror world looking in on the real world are also done well, it’s almost like this mirror world is underwater they are that cool.  The story though falls flat.  Now it’s not that the story isn’t great because it actually is a very interesting story; the idea that there is another world located within a mirror where the people in the mirror world all yearn to escape and take over the lives of the people they look like.  Unfortunately, this film doesn’t have a lot of consistency.  Early on in the film there is no suspense, and you can pretty much figure out everything that’s going to happen.  Then towards the middle of the film it’s all suspense and all drama, then towards the end it goes back to no suspense.                                             

Worst Heroine Ever!

The characters aren’t really that memorable or likeable.  Everyone just seems so bland and uninterested.  I mean the only really differences between the characters and the doppelgangers is that the doppelgangers don’t talk when their on screen.  That’s really the only difference we get between the two.  Also the dialogue, especially early on in the film, is incredibly boring.  Ninety-percent of the dialogue at the beginning of the film is all small-talk and nothing interesting is being said, I was just so bored the first hours of this film and I was waiting for something to happen.                                              

Sean Ellis, a promising young director

    This film has a great idea, but I just feel that it wasn’t executed as well as it could have been.  I think somewhere down the road, I will definitely want to do a Retrospect on this film to see if I had missed something that I didn’t notice the first time I watched this film.  This is not a bad film, but I just feel like the symbolism and the sub-plots are way too intelligent for a lot of people and I think a lot of the ideas and elements that Sean Ellis put into this film will go way above most people’s heads and will leave them more confused than anything.  Should you want to see this film?  I think yes, you should.  If anything you should watch it just for it’s amazing cinematography.  I think everyone should go out and see the films of Sean Ellis.  Don’t just see this film, but make sure you check out his film “Cashback” as well.  He is a brilliant and relatively unknown filmmaker and I think we can expect big things from him in the future, and who knows; maybe somewhere down the road, Sean Ellis will get some funding and he could do a “re-boot” or “re-make” of “The Broken” to tie up any loose ends or clear up parts of the plot.

Classics: A Review of Dead Poets Society By Lauren Ennis

Carpe Diem!

When one thinks of the word education, one most often imagines students sitting at desks practicing language, mathematics, science, and history. This image captures much of the modern public education experience, in which students gain knowledge in an approved set of subjects in order to pursue a career or college degree. This conventional approach to education is turned on its head, however, in the coming of age classic, Dead Poets Society. Over the course of the film, charismatic English teacher John Keating instills in his students a passion for “poetry, beauty, romance, love…what we stay alive for”, and teaches them that education is about far more than facts and figures. By the film’s end, even the most hardened viewers will be tempted to seize the day and make their lives extraordinary.

The film begins at the start of the school year at the fictional 1950’s preparatory school, Welton Academy.  The film immediately introduces the audience to the drudgery of life at Welton as the boys start the year with formal welcoming ceremonies and introductions to rigid courses. The atmosphere at the school quickly changes, however, when the students attend their first session of Keating’s (Robin Williams) poetry class and discover that their teacher possesses even more contempt for the school’s restrictions than they do. Keating’s first lesson includes instructing students to tear the foreward chapters out of their textbooks and reminding them of the importance of ‘carpe diem’, or seizing the day.

Over the course of the school year, Keating’s teachings prove to have an immense effect upon his students, as he consistently encourages them to challenge themselves and pursue a passion for life. Anxiety ridden Todd (Ethan Hawke), for instance, slowly emerges from his emotional shell and discovers both a talent for poetry and the confidence to pursue a social life on campus. Similarly, dutiful son Neil (Robert Sean Leonard) attains the courage to defy his father (Kurtwood Smith) and pursue his passion for acting, while awkward Knox (Josh Charles) uses his new knowledge of poetry to woo a girl (Alexandra Powers) at the nearby public school. Even the popular and charismatic group leader, Charlie, (Gale Hansen) steps outside of his comfort zone as the class clown to revive Keating’s old club, the Dead Poets Society. The club quickly becomes a haven for the boys, in which they can temporarily escape from their controlled lives through the freedom of literature. Obstacles arise, however, when the administration becomes critical of Keating’s methods and the nonconformity that they are inspiring in his students. Tragedy strikes when one student finds himself unable to reconcile the life of choice and opportunity that Keating has shown him with the constrained existence that society is forcing upon him. The ensuing ramifications force both students and teacher to confront the restrictions of the outside world and question the merits of a 'live to the fullest' philosophy.

Oh captain, my captain

Although numerous films have chronicled the influence of passionate teachers upon their students, few have done so as effectively or realistically as Dead Poets Society. Unlike other teaching films, which show students accepting a new teacher’s unique philosophy almost overnight, Keating’s class initially scoffs at his unconventional ideas before slowly incorporating them into their daily lives. Similarly, the students’ views evolve over time, rather than changing in an immediate revelation, as they come to terms with the hindrances of the privileged lives that their parents have planned for them. The film is particularly realistic in its inclusion of students who have not been influenced by Keating. Cameron, for example, proves to be the group’s skeptic throughout the story when he hesitates before joining the club and later betrays Keating in order to avoid being punished by the administration. Cameron’s presence reveals that while Keating is an effective teacher, he is not perfect and cannot reach every student. As a result, the story remains relatable without compromising its inspiring message.

In an effort to appeal to modern audiences, many recent school films focus upon teachers working with at-risk urban students. Although these films tell important and interesting stories, they often portray characters as types instead of people, and define them by the topical issue that they represent. After seeing numerous films that have resorted to stereotyping, it is refreshing to see a school film that avoids tacking on current issues in favor of telling a compelling story. Because the boys each have their own distinct personalities, it is much easier for the audience to be engaged in their activities than if they were relegated to the roles of stock characters such as “the teen parent”, “the drug addict”, or “the gang member”. The film’s efforts to create an original narrative are further aided by its setting. By setting the story at a boarding school, the screenplay can place almost total focus upon the students without involving their families and back stories. Similarly, the 1950’s setting enables the narrative to place the black and white views of the administration in the greater context of the severe views of Cold War America . Through its combination of dynamic characters and a rich sense of time and place, the film provides audiences with an engrossing story that relates an important message without sacrificing any subtlety.

The cast provides excellent performances that are by turns comical, charismatic, compelling, and haunting. Robin Williams perfectly captures the spirit of adventure that enables Keating to inspire his students, while also imbuing him with the necessary wisdom to lend his advice merit. Robert Sean Leonard nearly captures the film from Williams as he shows the torment behind Neil’s easy going persona. Gale Hansen and Josh Charles provide necessary comic relief in their portrayals of rebellious Charlie and awkward, love-struck, Knox. Ethan Hawke’s role as cripplingly shy Todd is truly a breakout performance in which he speaks volumes as a man of few words.

Dead Poets Society has remained a favorite amongst teachers and students since its initial release in 1989. The film has lost none of its resonance over the years, and its central message of ‘seize the day’ remains as crucial as ever. Through its realistic portrayal of adolescent confusion and discovery, the film reminds us of our own search for identity and the importance of remaining true to ourselves as we grow older. Join Keating and his class as they live deliberately and suck the marrow out of life. They just might teach you to look at the world in a different way.

No matter what anyone tells you, words and ideas can change the world

A review of "Come Out and Play"

Confessions of a Film Junkie: A review of Makinov’s “Come Out and Play”

By: Brian Cotnoir

Children.  Aren’t they just the most terrifying thing ever?  I don’t actually think that all children are terrifying, but you have to admit that in this day and age that there is just something about seeing large groups of young children congregating together that just seems so sinister.  You also have to admit that kids today are completely different than the kids that you grew up with.  It’s scary when you read a newspaper article about some 13-14 year old kid who committed an armed robbery or a murder, or worst and makes you say to yourself: “What happened in your life that drove you to become so evil at such a young age?”  It’s sad really.  Now, I ask you: what would you do if you were stranded on a dessert island with dozens of children who were trying to kill you?  I ask that because that is the plot to the film I’m reviewing this week, Makinov’s “Come Out and Play”.                                

    So the story is set in Mexico.  A couple is on vacation and is looking for a little bit of fun before the wife gives birth to their third child.  The husband has heard that there is an amazing “Carnival” celebration on a secluded island called Punta Hueca.  So he rents a small motorboat and they set off for Punta Hueca.  The couple arrives to find that the island is virtually deserted except for groups of young children that they see wandering about the island.  The couple is about to find out that the children of Punta Hueca have a little game that they like to play and they are to become their next victims.          

Out-lander!, Tenemos a su mujer

So yeah, it’s kind of like Mexican “Children of the Corn”.  It has some interesting add-on’s to the plot though.  I definitely feel that being stranded on an island with a group of homicidal children is scarier than being stranded near a corn field with a group of homicidal kids.  So why are the kids of Punta Hueca killing all the adults?  No one knows!  There isn’t a single reason given.  It all started on a night two weeks earlier when all the children on the island got together and started killing their parents and since they’re just kids, whose really going to stop them?  The big question asked by all the adults in this film is “Who could ever kill a child?”.  That is a difficult thing to wonder; who could ever kill a child?  I can’t think of any worst crime than maliciously harming a child and I can’t speak for everyone in the world, but you know what, if I ever came across a group of 40+ kids armed with knives, guns, and other weapons, I think I could find it in my heart to forgive myself for the sake of my own survival.  Plus, I’m pretty sure most of the world would be willing to turn a blind-eye to the whole incident.                                       

Oh, so Now you decide to run???

    Now, I found it hard to feel sorry for our main characters at times.  Seriously, if I were to arrive on an island and see no residents except for a few children, my first instinct would not be to explore, it would be; “screw this place.  I’ll come back later, when the party starts”.  Not only do our two main characters decide to explore the island, but after discovering no people at the bar, the beach, a general store, and a hotel they still don’t get it!  Again, if you’re on an island and the only people you’ve come across is a few kids who won’t talk to your or answer your questions that is your cue to get your crap together and leave!  They don’t realize what little demons these children are until they witness an old man getting bludgeoned to death by a group of these kids.  They had so many opportunities to run and survive early on in this film and they blew every chance.  The husband eventually grows a pair and uses a gun he found at a police station to open fire on the kids in an attempt to escape.  I don’t think I’ve ever been this excited to see a child get shot in a film.                                  

Yeah, it's basically is a rip-off of "Children of the Corn"

    So how about this film?  It’s okay, but I think it could have been made a lot better.  Why were all the kids driven to commit murders?  How about a little motive, please?  And you know what else, I’m kind of hoping that there’s a sequel in the works to this film.  I think one could be made, giving the films ending.  So if you see “Come Out and Play” and you like it, good for you, if you don’t, I totally understand what you’re getting at.  Most importantly, the next time you see a group of children walking through your neighborhood, turn around and run like hell!