Also, there are twists and turns elegantly weaved in to the story to keep you on your toes, preventing Can’t Come Out To Play from being as predictable as you may think. It is the first feature film he has directed in over a decade (his last being Speaking of Sex in 2001) and his first horror venture since Haeckel's Tale, a 2006 episode of the horror anthology series Masters of Horror.

With just a simple nod or sideways glance she is able to elicit a ridiculous amount of fear and unease. The most terrifying aspect of the film comes from this harrowing performance by Samantha Morton, who plays the doting, loving and obsessive mother.Tension is built up effortlessly and, at times, it is the screaming silence that speaks louder than any words could. She makes a lot of stupid, irrational decisions, but we are reminded that she is only human and prone to mistakes. Katherine, who had caught up to Jason and Maryann, is informed via her pager that her son's ventilator has been unplugged, and runs back to the house. I give Can't Come Out to Play an okay three out of five stars and recommend it for Monday night viewing.

A frantic Katherine, refusing to accept that there is no hope for her son, subdues Richard with a sedative and pursues the children. After Katherine meets up with Maryann's grandparents, and reveals to them that Andy is dying, they prohibit her from visiting Andy again. A TV weatherman is recruited by government scientists to help contain powerful freak winds before they converge and destroy the planet. 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.As the young pair grow ever closer, Charlie's mother (Morton) becomes increasingly concerned for her sick boy and obsessive in her quest to shelter him from harm. Still reeling from the loss of her parents, she takes it personally until one day when she is trapped in the house and she discovers the Young's terrible secret. Her performance is understated and subtle, yet perfectly and entirely successfully at presenting the quiet evil that resides inside her character.