I Came By premieres Wednesday, Aug. 31 on Netflix.
I Came By is a slow, wicked thriller that contains a handful of surprising breaks to convention. It's a small, unassuming film featuring 1917's George MacKay as a vandal who, after a streak of breaking into rich people's homes, accidentally picks the wrong target in a devious serial killer played by Paddington and Downton Abbey's Hugh Bonneville. I Came By's third act may devolve a little bit into slugfest territory, but overall this is a rather shifty and shocking game of cat(s) and mouse.
Aside from the perverse fun found in watching Bonneville get gruesome, I Came By is a neatly packaged crime story that unspools a rather morbid vigilante tale. Without digging too much into specifics, due to the aforementioned bending/breaking of traditional narrative structure, this is a film that's figured out a way to keep you engaged and guessing through a very simple story in a manner that also helps it stand apart from other maniac movies. Characters who you assume are supplemental at the start become integral as the acts progress.
MacKay and Percelle Ascott play Toby and Jay, childhood friends who, in adulthood, moonlight as renegade eat-the-rich graffiti artists who spray-paint "I CAME BY" on the penthouse walls of the wealthy and corrupt. After Jay bows out of their small two-person movement because he wants to focus on starting a family with his girlfriend (Strike Back's Varada Sethu), Toby plots to rob the estate of activist judge Sir Hector Blake (Bonneville) by himself. But down in Sir Hector's basement, Toby uncovers more than he bargained for.
In the tradition of movies like 2018's Bad Samaritan, 2016's Don't Breathe, or even Hitchcock's Psycho, I Came By revels in the idea of a low-level rule breaker entering the wrong body of water and crossing paths with a truly dangerous shark. And Bonneville is Dexter-esque here (if, say, you were meant to hate Dexter Morgan) as a killer who seems to almost operate at his best when he's cornered.
Kelly Macdonald (Boardwalk Empire, Trainspotting) plays Toby's mother, a therapist who has now wound up with a very "angry young man" in her house. The film touches on their mother/son rift, hinting that it has to do with Toby's late father and an inheritance she won't allow Toby to have, giving Toby a nice complicated center as someone who despises the rich but is also pushing away his mom because of money. Macdonald is great as an embattled working mom who gets caught up in her son's malicious misadventure.
And, of course, Bonneville is memorable as well as a monster whose sociopathic charm has a very short leash. You'll long to see Sir Hector take the fall here, even as the movie tries to make a clumsy point about false altruism making evil intentions. Plus, you'll actually learn more about why Sir Hector does what he does than you do about the other characters in the movie, which works because he's the whirlpool in the equation -- and everyone else starts to circle, and get sucked into, his torrent.
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