Murder off the Grid: Hunter Hunter on Netflix

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With somewhat cheesy cover art and a loud, uninformative title, it appears at first glance that Hunter Hunter is going to be some kind of backwoodsy B-thriller in the vein of “Jason Statham in the woods— minus Jason Statham.”

Jason Statham—just a simple man of the woods.

But it had a 6.4 on IMDb, so I figured, What the hell?!? (And I’m not above Statham, for what it’s worth.)

What starts as a grim yarn about an off-the-grid family toughing it in the woods is flipped on its head as alternate and intertwining chains of survival enter the picture. The ecosystem here is comprised of an almost mythical ravenous wolf, a hardheaded survivalist hunter and his apprehensive wife and daughter, as well as something a bit more sinister. It all amounts to a battle of apex predators, with a roadmap toward carnage.

This flick could have gone in so many well-trodden, predictable directions. Instead, director  takes the less traveled road,  while binding poignant metaphors to its grotesque twists and turns. It also excels as a breakneck thriller with exponentially rising tension.

No doubt, there are some headscratching decisions along the way. But there’s also some fantastic, transformative performances. I had no idea until the credits rolled that the protagonist was none other than a 45-year old Devon Sawa, a staple of turn of the millenium teenage horror (Idle Hands, all thirty Final Destination installations). Camille Sullivan also gives a viscerally charged performance that is central to the film’s success. And then there are other key players, some recognizable, who admirably fill the darker corners of this bleak bloodbath.

I should also say that by the time you’re done here, I think you’ll see that the title is actually pretty clever. Hunter Hunter is, in all, a well-crafted and damn fun thrill ride, and not for the faint of heart. It will also make you appreciate the small things in life, like electricity, running water, and a lack of violent deaths in your general vicinity.

GRADE: B+
IMDb: 6.4

-Sam Adams

Brazilian Bleak: Wolf at the Door on Netflix Instant

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If Prisoners met Little Children and were lured into a back alley by Alejandro González Iñárritu’s Biutiful, you might have a rough idea of what the Brazilian abduction film Wolf at the Door is about. But even such a miasma of grim, adulterous, child-snatching malevolence would fall short of matching the depravity that exists in director Fernando Coimbra’s 2013 suspense tale.

While this film is not for the faint of heart, it’s also a bit of a departure from the material I typically recommend on this blog. It’s slow-burn suspense at its best—chiller, not thriller; horrific, not horror. It’s also a reminder of how many fantastic, bleak movies are coming out of South America (and often landing on Netflix) without ever getting much of any widespread appreciation (see: Elite Squad: The Enemy Within, Pescador, Carlos).

Essentially, where slum tales like Amores Perros and City of God left off, a new generation of excellently devastating filmmaking is taking place south of the border. So without further ado, here’s the rundown on another black diamond in the rough I stumbled upon deep in the ether of Netflix’s foreign catalogue:

Wolf at the Door
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The film begins with a panning shot set to creepy synth music that leads us to the door of a preschool. It’s here that a mother learns her daughter was taken by an unknown woman posing as a family friend. The investigation for the girl is Wolf at the Door‘s narrative premise, but the story unwinds in a much more elegant and mysterious structural fashion than your typical whodunit thriller.

As police investigate, we meet our key players: Sylvia, the slightly clueless neglected wife; Bernardo, the creepy father who’s a slimy John Turturro lookalike; and Rosa, the psychopathic, attractive young mistress who for some unexplained reason is stalkerishly drawn to a slimy John Turturro lookalike.

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“Ladies love the creepy teeth, bro.”

What unfolds is a series of Rashomon-style flashback scenarios leading us to the kidnapping and its underlying motivations. The cards are laid out slowly, but the chaos and unsettling psyches of two of the main characters only plummet to grotesquely deeper realms as we get to know them.

Wolf at The Door accomplishes the task of seamlessly humanizing and then dehumanizing what on the surface would seem to be very ordinary people. It also excels as a captivating movie that runs for 101 minutes without really introducing a single likable protagonist.

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Hell hath no fury like a psychopathic mistress scorned…

Every detail here counts, so I won’t go much further. But if you liked Prisoners (one of my favorite dark thrillers of the past few years) and don’t mind a slower-paced, less Hollywood-friendly suspense flick, Wolf at the Door is up there with other grim, foreign-language abduction tales like Big Bad Wolves and The Silence (both on Netflix, by the way). The performances by Milhelm Cortaz (Bernardo) and Leandra Leal (Rosa) are also insanely good, with both actors exhibiting a diabolical range that catapults an otherwise-solid suspense tale into an unforgettable prism of human savagery.

GRADE: B+
IMDb: 7.5

-Sam Adams