Rated PG-13 for violence and creature terror, and some sensuality
Cast: Amanda Seyfriend, Gary Oldman, Billy Burke, Shiloh Fernandez, Max Irons, Julie Christie
Director: Catherine Hardwicke
I struggle with movies where the visual style is in a perpetual joust for attention with the story elements.
"Red Riding Hood" is an updated expansion upon the classic tale, so one could argue that the look of the film is intended to evoke a fairy tale feel. Fair enough, but the production design should always be a supplement to the story. When the actors themselves look uncomfortable occupying their own surroundings, that's a pretty solid indicator that your visual atmosphere could use a little dialing down.
(Look, I'm not seeking a realistic setting here, but this is like watching a sleep-inducing Twilight-inspired love triangle combined with an Agatha Christie whodunit set in Dr. Seuss' Whoville. At some point, you have to try to make your story at least remotely relatable.)
It doesn't help that the film combines a swarm of plot elements and doesn't handle any of them with recognizable skill. The film is part love story, part thriller, and part social statement on martial law and pious fanaticism. None of the individual parts leaves much of an impression. The only real accomplishment here is that the ineffectiveness of one element offsets the ineffectiveness of the others.
The story is set in Daggerhorn, a village of about thirty people nestled in the most remote location imaginable. A bloodthirsty werewolf has been terrorizing the inhabitants for generations. Meanwhile, a love triangle has developed in the confines of the village. Valerie (Amanda Seyfried) is in love with Peter (Shiloh Fernandez), yet her parents (Billy Burke and Virginia Madsen) have scoured the town's available bachelors and have arranged a more suitable husband-to-be (Max Irons) for her.
During a blood red full moon, the wolf makes his presence known once again and in their fear, the villagers summon Father Solomon (Gary Oldman) to combat the beast. Solomon wastes no time in declaring martial law in an effort to unearth the wolf's cover. Yet we know, of course, that the final confrontation will be between Valerie and the beast, most likely while she's en route to the homestead of her grandmother (Julie Christie).
There's simply no cohesion here. Nothing holding this story together. We know very little about the participants in the love triangle, the martial law aspect isn't developed enough to be effective, and the thriller element is nothing more than a potpourri of red herrings, as we're given reasons to think each member of the village could be the wolf. The whole movie feels like it's in a constant struggle to make sense of itself.
Amanda Seyfried is certainly easy on the eyes, though the jury is still out on her acting range. That's not really her fault, as her roles up until now haven't afforded her the chance to flex her acting muscles. She seems boxed in by somber, romantic leads like this. The rest of the cast is reduced to the aforementioned red herring-mode... everyone a potential "suspect." Gary Oldman spends his screen time chewing the hell out of the scenery. And believe me, that is one monster task in this film.
The director is Catherine Hardwicke, who recently made headlines by lamenting over being turned away from directing "The Fighter" because of her gender. She may very well have a point, but it's hard to believe taking on directing jobs like this one is the solution. Perhaps she should return to her independent film roots. (She directed the searing drama "Thirteen" with Evan Rachel Wood.) Of course, you don't get the big bucks or added luxuries you do with major studio productions. Yes, the indie trek is an emotionally exhausting slog and the money is practically nonexistent. Plus, moviegoers will likely have to wait longer for your next film to hit theatres. But hey, if it'll spare me viewing experiences like this one? I have no problem being patient.
* out of * * * * stars
