Jacob Chase
بدور Director
English,Filipino,Français,Indonesian,Kiswahili,Português,Русский,اَلْعَرَبِيَّةُ,اُردُو,هَرْشٜن هَوْس,বাংলা,ਪੰਜਾਬੀ,中文
The دراما film تعال نلعب, starring Azhy Robertson, Gillian Jacobs, John Gallagher Jr., etc., directed by Jacob Chase, was released on October 30, 2020 in الولايات المتحدة. It tells the story of في إطار من الرعب، تصبح حياة طفل صغير وعائلته على المحك، حينما يصبح مطارد من قبل وحش يُدعى لاري يقتحم حياة الضحايا من خلال الهواتف الذكية والمحمولة. This is a دراما, رعب, أُحجِيَّة film with a runtime of 96 minutes and its worldwide box office is not listed in the available detail data. It has received a rating of 5.8/10 from 19,960 viewers.
Jacob Chase
بدور Director
Azhy Robertson
بدور Oliver
Gillian Jacobs
بدور Sarah
John Gallagher Jr.
بدور Marty
Winslow Fegley
بدور Byron
Jayden Marine
بدور Mateo
Gavin MacIver-Wright
بدور Zach
Dalmar Abuzeid
بدور Mr. Calarco
Eboni Booth
بدور Dr. Robyn
Rachel Wilson
بدور Jennifer
Alana-Ashley Marques
بدور Aide
Alex Spencer
بدور Police Officer
Ish Morris
بدور Mateo's Dad
Ana Araujo
بدور Kid Next to Byron
Russ Walko
بدور Larrys Lead Puppeteer
Rodger Bumpass
بدور Squidward
Bill Fagerbakke
بدور Patrick Star
Kate Fenton
بدور Rude Shopper
Jess Salgueiro
بدور Sonya
Jacob Chase
بدور Writer
قد تختلف التوافرية حسب البلد واللغة ونافذة الإصدار. بعض الأعمال تكون مضمنة في اشتراكات المنصات، بينما قد يتطلب بعضها الآخر الاستئجار أو الشراء أو الوصول عبر التطبيق. تُحدَّث كتالوجات البث واتفاقيات الترخيص بانتظام، لذا قد تتغير خيارات التشغيل بمرور الوقت. للحصول على أدق تجربة مشاهدة، راجع أحدث قائمة على الخدمة التي اخترتها وتأكد من الدعم الإقليمي وخيارات الترجمة وتوافق الجهاز قبل البدء.
127A Smithfield Road, Frederiksted, Virgin Islands
Castle Rock Entertainment
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Just know that this story is whack, the little boy Oliver is an annoying as hell autistic child, the mother and father are both dinwits and the movie was far from good. 2020 and these so call horror thrillers just constantly insult the viewing audience's intelligence. Only lying trolls are saying this film is good. Don't believe them, this film is ridiculously stupid.
Nothing to see here, folks. I had the privilege of seeing this movie alone in the theater with my friend and we had fun pointing out things during this tame movie. For example, in one scene the dad is working in his booth and there are pamphlets blowing everywhere. The perspective shows the dad in the front of the screen with the pages flying in the background. Suddenly, a collection of papers - *gasp!* - hit something, forming the shape of a man standing there. 1. This has been done before (see "The Conjuring"). 2. The monster in the movie looks nothing like a man... why did the collection of papers form that shape? Another scene, near the climax of the movie, the mom cries, "I wish you were normal!" to her son. But the monster is chasing them throughout their house and things are chaotic. The timing was awful there; shouldn't she have been more concerned about their safety? Also, the adults are quite ignorant. Can't they think of anything to do against this baddie than run or throw electronics out of the house? The dad tries to outsmart it by locking it in his booth, but... I mean, the monster just got in with all of the doors closed, you think that's going to stop it? It didn't even work, as the dad is attacked mere moments later. "Come Play" borrows things from more successful movies like Poltergeist and The Conjuring. It's nothing but lame jump scares that would seemingly only frighten newcomers to the horror genre. Gillian Jacobs, who I loved in Community, gives a good effort but the movie just stinks. It's also repetitive... get used to seeing the cover of the "novel" the monster appears in, and get used to the first few pages; they will be read often. Sadly, parts are also predictable. We see the kid using his dad's digital measuring tool, and sure enough, the monster, who is mostly invisible in the movie, is measured by him. The distance gets smaller and smaller... we all saw that coming. Mama asks her son to look her in the eye, which he doesn't do; he is autistic, and that's how it is. But of course, the boy eventually does. Lame movie, not worth your time.
I've seen better and worse, but for what it is, as a PG-13 horror movie, I think it does really well. It's short on scares, so don't go into this hoping to be scared out of your mind, but I think the emotional power that the message conveys is definitely worth a viewing. Definitely struck my heart strings by the ending. It's definitely derivative of several movies, but it's pretty good for sure.
Come Play tries to be something more substantial than just another cheap horror flick, and for that, I give it due credit. It's unfortunate, then, that it's often slow and boring. It's clear that it makes an effort at connecting on an emotional level, but again, it simply fails.
Over the symbology of this film, other than say that im overwhelmed by the sensation of true fear, like the ones i felt when i was a little boy afraid of the thing called''bolla'' here in norway, and the film is completely without blood and gore, thats almost unheard of today.so i would say a nightmatre on elm street without blood and gore factor could be a good comparishion( i hate to compare ,but larry told me to do it sooo...) so plain horror you get, almost nonstop seemingly never ending, and the production has a vast variety of sound and light effects, cgi of superior quality, and the children actors are like made out of a good mix of tom and sean and some forrest in the edges. and its a film that will scare the heck out of people that are convinced that that can track ghosts via the camera we all have in our digital gadgets, and will for sure loose their senses each time a light starts blinking. im ready to declare that this is the best of its kind made in this decennium, pure horror for all its worth, hypoanemic and hypointestinosic it is, and could even be used by the round table a saturday evening with the family, not familyfriendly but rather safe wihin the frames of common scares. its a must see film is the grumpy old mans message
I'm left pretty speechless. This movie was so bad, I don't even know where to begin. - there was nothing scary about it (a few typical monster scenes that we have all seen 100x's in any other horror movie);, and a few routine "jump-scares". Other than that, - nothing -- I fell asleep twice from boredom. - Believe me, I'm not being a jerk, just being honest with the hopes that I can save some of you some time (and possibly money if ur renting). The story was dumb, the acting was weak, and I'm just glad it's over. -
Yoh should defently watch this movie!!! Itssss soooo good!!!!!!! I love it!!!!!!
The only reason why I say that is cause pg-13 movies have limitations that they have to follow and the options they have are pretty limited for a horror movie and also for this movie half of the cast is children.
تحليل مفصّل لتغيّرات الأسعار الأخيرة، ولماذا يعيد المستخدمون النظر في إعدادات المشاهدة لديهم، وكيفية تقييم سير عمل بديل دون فقدان عادات الاكتشاف.
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مراجعة موسّعة توضح لماذا يتميز Project Hail Mary في 2026: جودة الاقتباس، والسرد العلمي، والعمق العاطفي، وردود فعل الجمهور.
صُممت قصص الكوميديا للترفيه من خلال الفكاهة. تشمل الصيغ الشائعة الكوميديا الموقفية والكوميديا القائمة على المشاهد القصيرة وكوميديا العمل والكوميديا الرومانسية.
تركز أعمال الأكشن على الإثارة والصراع الجسدي والشخصيات البطولية والسرد السريع. غالباً ما تتضمن أعمال المغامرة الاستكشاف أو النجاة أو الرحلات الملحمية.
تتابع دراما الجريمة المحققين ورجال المباحث والمحامين أو الصحفيين أثناء حلهم القضايا الجنائية. وتشجع قصص الغموض الجمهور على اكتشاف الأدلة جنباً إلى جنب مع الشخصيات.
يستكشف الخيال العلمي التكنولوجيا المستقبلية والسفر عبر الفضاء والذكاء الاصطناعي والواقع البديل والتخمينات العلمية.
يخلق سرد الرعب التشويق عبر التوتر النفسي والأحداث الخارقة والوحوش أو سيناريوهات النجاة.
تركز القصص الرومانسية في المقام الأول على العلاقات وقصص الحب والتطور العاطفي بين الشخصيات.
تشمل الرسوم المتحركة أعمالاً للأطفال والعائلات والكبار، وتتراوح من المحتوى التعليمي إلى السرد الدرامي المعقد.
تركز القصص الرومانسية في المقام الأول على العلاقات وقصص الحب والتطور العاطفي بين الشخصيات.