Come Back to Me Is a Tired Stab at Psychological Horror


Psycho has a lot to answer for: Half a century later, lazy filmmakers are still using “mommy issues” as the paper-thin motivation for killers of all stripes.

That’s one problem with Paul Leyden’s stab at psychological horror, Come Back to Me, a film in which every character states her motivation out loud, and even so-called “shocking” revelations are underlined with a hand-holding voice-over.

Sarah (Katie Walder) is a young wife who begins having unsettling visions of her own death. Again and again, she wakes up terrified, thinking it was a dream, but occasionally comes across disturbing evidence that says otherwise. Is her new neighbor, maladjusted mama’s boy Dale (Nathan Keyes), stalking her? And if so, why doesn’t she remember it?

The film’s clumsy script elicits groans, but it’s the plot that infuriates. Literally — dictionary definition literally — every significant woman in the film has been victimized, usually raped, by the same person.

The supernatural power at the heart of the film is reduced to merely a way to rape more successfully. Any criticism of misogynistic entertainment implicit in that detail is strictly by accident; had the filmmakers intended it, someone surely would have yammered on about it in voice-over.