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Jim Cummings made his breakthrough with “Thunder Road,” a character study that wowed audiences at the SXSW Film Festival. With his fantastic follow-up, “The Wolf of Snow Hollow,” he takes an unexpected detour into the world of genre filmmaking. Beyond your typical horror/comedy, “The Wolf of Snow Hollow” is a masterful exercise in tone balancing. It isn’t so much a comedy as it is a thriller, and it doesn’t aim for laughs or horror so much as it aims to weave various tones and styles throughout its excellent script. After seeing “Thunder Road,” I had a feeling Cummings was someone to keep an eye on, and now I’m even more convinced.
After renting a remote cottage in a snowy corner of the country, PJ (Jimmy Tatro) and his girlfriend Brianne (Annie Hamilton) have decided to spend the winter there. After having a tense encounter with some locals at a bar, they retire to the cabin, where PJ intends to propose to his girlfriend. With the knowledge that this is a werewolf film, these early scenes have the feel of the opening sequence of “Scream,” as director Cummings plays with the fact that the audience is aware that something terrible is about to take place. When Brianne goes outside to turn on the hot water late at night, she is torn apart by something that leaves a large pawprint on the ground. It appears that PJ will not get the chance to propose to Brianne.
And I do mean “pieces” because the majority of the officers who respond to the scene have never seen anything like a woman with missing body parts before this. In any case, it takes John Marshall (Cummings) completely by surprise, as he is dealing with so much personal turmoil in his life that the arrival of what they initially believe to be a serial killer could be the straw that breaks his back. In a series of quick beats, Cummings reveals that John is a recovering alcoholic who has a sick father (Robert Forster), who also happens to be the town sheriff, and an ex-wife who despises him. Cummings also reveals that John has a sick father (Robert Forster), who also happens to be the town sheriff. Despite the fact that Officer Julia Robson (Riki Lindhome) is a quiet, confident partner, and John is trying his hardest to make things work with his daughter (Chloe East), the situation immediately appears to be too fragile for him to handle the most important case of his life at this time.
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Everyone reacts as if there is a madman in their midst when the first death occurs, but it happens again the following night. And then there’s the next one. And the whole town starts talking about it. As much as John tries to dispel the notion of anything supernatural, some people are convinced that there is a literal werewolf lurking in those snowy mountains. A number of scenes of incompetent police work are written by Cummings, but they are not written in the traditional broad comedy sense. His work instead shows how stressed, ordinary people can butt their heads together when they disagree on how to deal with something unimaginable. His attention is drawn to what a case like this would do to a person like John, causing him to become unlikable in a variety of ways. He’s not your typical hero, to put it mildly. He’s an ordinary guy who finds himself in the middle of a nightmare. There is a significant difference. There are so many versions of this movie that overplay either John’s heroism or turn him into a bumbling idiot, but Cummings, as a screenwriter, takes neither easy road. Because of this risky decision, the film is significantly improved.
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It also has a lot more visual confidence than most people would expect it to have. Cummings’ previous film, “Thunder Road,” was a solid dramedy, but with “Snow Hollow,” Cummings uses space to build tension (with excellent cinematography from Natalie Kingston), and the excellent editing by Patrick Nelson Barnes and R. Brett Thomas both conceals and increases the discomfort of the low-budget production. You’re probably familiar with the sensation of intense cold reaching your bones. You get a sense of that while watching “Snow Hollow,” which is one of the most icy and chilly films I’ve seen in a long time.
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Because of the snow-covered setting and bumbling cops, as well as Cummings’ deadpan sense of humor, “The Wolf of Snow Hollow” has drawn comparisons to the Coen brothers. There is a sense of “Fargo meets Silver Bullet” in some scenes of “The Wolf of Snow Hollow,” but Cummings does not display his influences as overtly as some genre filmmakers do in their films. It feels like everything from Universal monster movies to John Carpenter is woven into the fabric of this piece, but he never succumbs to the obvious shout-outs that can make films like this feel like cheap imitations of their respective franchises. In addition, he is an excellent director of performers. Although his performance is the focal point, he also coaxes a gentle and poignant performance from Forster, who has become impossible to ignore by this point.
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After 45 minutes, “The Wolf of Snow Hollow” begins to feel a little rushed, as scenes and twists pile up, and Cummings hurries to reveal his final revelations to the audience. I understand how tight this film is, clocking in at around 80 minutes, but it’s one of the few recent films that could have benefitted from being a little longer. It would be more enjoyable for us to spend more time with John Marshall’s nervous breakdown and the growing panic in the town around him rather than being rushed through the final moments of the film.
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Cummings, on the other hand, never completely loses his rhythm, and he even manages to make “The Wolf of Snow Hollow” relevant in today’s world. A word of caution to those who may be reading the comments: this is unmistakably and explicitly a werewolf film about toxic masculinity. There’s even a speech by John that explains how, in the beginning, the werewolf myth was created as a way to explain horrific violence against women that was often committed under the light of a full moon because it allowed those who perpetrated the violence to see what they were doing. It couldn’t possibly be men. It’s obvious that the wolf is to blame. And the film’s final twists and turns only serve to amplify this theme, which doesn’t feel like it was tacked on to the story as much as it does like it was inherently a part of a genre that has long been built on the plight of women in peril. This time, a filmmaker is willing to question what that says about mankind as well.
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