A beautifully shot werewolf movie that’s not afraid to tread different ground than its genre predecessors, writer/director Jim Cummings’ quirky The Wolf of Snow Hollow (available now, on-demand) focuses on its flawed lead, ensuring anxiety is not just mined from the premise. Additionally, wry dark humor and traditional thrills mingle on a tonal tightrope that is mostly successful. These and other aspects make for a pleasingly unconventional creature feature.
The multitalented Cummings also stars as beleaguered small-town deputy John Marshall. A recovering alcoholic with anger issues, an ex-wife who hates him, and who struggles to connect with his teenage daughter, Jenna (Chloe East), John has plenty on his plate already when a brutal murder shocks the sleepy town of Snow Hollow, Utah. John’s father, Sheriff Hadley (fan favorite Robert Forster in his final big-screen performance), refuses to retire despite a concealed heart condition, adding to John’s troubles. As the bizarre animalistic murders begin to mount, rumors of the supernatural begin to percolate, and John’s overmatched disinterested subordinates threaten to topple his already precarious mental state. Meanwhile, his partner, Officer Julia Robson (Riki Lindhome) diligently does old-fashioned police work as she watches John with quiet concern. Other supporting roles include Jimmy Tatro as a tourist with big plans, Skyler Bible as a wiseass cop, and Will Madden as a local taxidermist.
Cummings’ script offers authentic dialog with precisely deployed moments of humor. Comedy is just one component in the mix here, though, as John’s dramatic arc and the chilling murder sequences make for a well-written piece. Now, the conclusion feels a little rushed, and at 83 minutes, the police work could have used a little more time to breathe, but ultimately the movie is about watching John unravel with the is it or isn’t it supernatural mystery as one of a small handful of large stressors on his life and career. John is a fascinating character, and we empathize with him even as we watch him flail and lash out. He can be a bit of a dick, but we root for him. In addition to the solid character work and atypical horror/mystery elements, Cummings also capably layers in some light messaging about masculinity and misogyny. Forster is reliably warm in his swansong. Lindhome’s understated calmness is a nice foil to the frantic, high-strung John.
As I mentioned above, this is one good-looking flick. Natalie Kingston’s photography makes ample use of the starkly beautiful rural Utah location. The film opens with breathtaking aerial vistas of snow-covered mountains and forests, and the creeping cold seeps into nearly every frame after. Languid camera movement and precise framing lend an almost Hitchcockian feel to the more suspenseful moments. Ben Lovett’s music meshes perfectly with the morphing aesthetic, amplifying tension as well as assisting laughs. The bubbly track that accompanies John’s harried handling of the second crime scene reminded me of Jon Brion’s distinctive work on Punch Drunk Love. Effects work is nicely done and while the film is moderately gory, it never really leans into graphic violence or its traditional horror scenes. Atmosphere is important here, and I think it’s important to note that the film feels more like a dramatic thriller with horror and comedy flourishes than a straight-up comedy or horror flick.
I was highly impressed with Jim Cummings’ work as a scripter, director, and actor in the recently released The Wolf of Snow Hollow. I don’t think the ending completely works and I don’t doubt that the mechanics of it will rub some viewers the wrong way. However, I think the good vastly outweighs the bad here, and I’m now interested in seeking out Cummings’ other efforts. Recommended for fans of Silver Bullet, Fargo, and Sorry to Bother You.
Michael Cavender