What Do The Critics Say?
"This suspense-filled mystery keeps the audience guessing as to the human identity of the werewolf. Fans of "Twilight" will be in seventh heaven with all the similarities. Director Catherine Hardwicke creates a tense, foreboding atmosphere. This crowd-pleasing guilty pleasure will exceed all your expectations. It turns a familiar children's bedtime story into a sexually charged dramatic thriller."
Keith Cohen ENTERTAINMENT SPECTRUM
"Catherine Hardwick includes a striking use of color and lighting that gives many scenes an almost dreamlike look while giving other scenes an eerie atmosphere. Gary Oldman has a lot of fun in his role and makes the most out of the stilted dialogue. Julie Christie adds some much-needed gravitas as Valerie’s grandmother. An often suspenseful, visually stylish and atmospheric whodunit despite a hackneyed romantic subplot and plenty of stilted dialogue to boot."
Avi Offer NEW YORK GURU
"Catherine Hardwicke's previous films, primed her for this enticing bauble based on the Brothers Grimm's tale of sexual awakening. Fattening fairy tales for the screen is tricky, and Hardwicke gets it half right, valorizing romance over duty, integrity over tyranny. Sexy fairy tale adaptation with a bite."
Peg Aloi BOSTON PHOENIX
"Hardwicke's background as an artist and production designer has clearly informed the film's distinctive look, masterminded by Thomas E. Sanders. A scattering of original songs including Fever Ray's 'The Wolf' add to the teenaged intensity of the action. Red Riding Hood is a hoot from start to finish. "
Clemba Stow THE VINE
"This isn’t the Red Riding Hood I remember from childhood. It’s much better. It also isn’t the horror film that advertisements would lead you to believe. Despite the ill-advised advertising, this is not a horror film or a Twilight knock-off. Those that stay away are missing an entertaining film with fine acting and ambience. It's a mystery, and a good one with fine acting, pace, and ambience."
Tony Medley TOLUCAN TIMES
"Despite a creaky start, Orphan screenwriter David Leslie Johnson works matinee magic, contorting the material into an easy bull's-eye for Hardwicke to hit and working in some decent cautionary lessons of his own. While Red Riding Hood never pretends to be anything other than red meat for its ravenous teen base, it's more sturdily constructed than it was required to be, and thus, more engrossing. Sturdy fairy tale remake shows how post-Twilight wave should be done."
Justin Strout ORLANDO WEEKLY
"Catherine Hardwicke ("Twilight," "Thirteen") has always had a strong feel for mixing young romance, rebellion and the supernatural, and it shines through here, especially when guided by a fairly ingenious script from David Johnson ("Orphan"). Riding Hood is pretty decent, considering it's, you know, Red Riding Hood. Hardwicke keeps the sexual tension going while Johnson's script keeps the murder mystery taut, and it all works well considering this is "Red Riding Hood." Hey, just flow with the fur."
Tom Long DETROIT NEWS
"Hardwicke, working from a humorless script by David Johnson (Orphan), fashions a passable young-adult thriller here, with lovely medieval costumes and set pieces. The focus is mainly and more interestingly on Valerie and her dilemmas, not only having to decide which man to marry, but suspecting them at various times of wolfitude and discovering that she does indeed have pretty close ties to the chatty beast. And Seyfried's 'Hood is strong, smart, and admirable."
Tricia Olszewski ARTSDESK
"Under the direction of Catherine Hardwicke, who also helmed the first Twilight offering, Red Riding Hood boasts an interesting visual style designed to take us back to the Dark Ages. The house where Valerie’s grandmother lives is especially eye-catching and even projects an old-fashioned fairy-tale feeling. I also admire the symbolic use of Valerie’s vivid red cloak and the 'blood moon cycle' shots, which suggest the importance of full-blown feminine power. My husband insists that 'Red Riding Hood' is a 'Lifetime' flick set in Medieval times. He could be right.
Betty Jo Tucker REEL TALK REVIEWS
The Inside Story
For many of us, the title "Red Riding Hood" will conjure up fairy-tale images of an innocent little girl in a red cape heading to Grandmother’s house and those chilling words: 'What big hands you have!. My, what big teeth you have!' To which the wolf replies: 'All the better to eat you with.' Poor little Red Riding Hood then meets a bloody end. Well not quite! In fact, the original story was a cautionary tale of danger and deception intended to frighten impressionable, young minds. Why? Well, think for a moment about todays little kiddies who grow up bombarded by TV and FILM images of ferocious animals who are often depicted as super-friendly and totally harmless. It couldn't be further from the truth. Gee! I'm sure there's even people who believe the Polar Bear a.k.a 'Bundy Bear' featured in those Bundaberg Rum adverts will, sooner or later, pop up at their favourite watering hole, party or next BBQ. In olden days, the tale of 'Little Red Riding Hood' was designed to warn children of the danger wolves posed as were many other tales handed down from generation to generation. In fact, the cautionary tale (unlike the one we know today from the Grimm Bros) has roots going back to 14th century France. By the way, 'Little Red Riding Hood' managed to escape death thanks to a hunter who cuts open the wolf and frees both granny and the child. But, did you know, the creature in this 700 year old tale wasn't always a wolf? In some cases it was an ogre or a 'bzou' (werewolf). Director Catherine Hardwicke ("Lords of Dogtown") notes it’s the story’s more sinister roots that lend themselves perfectly to a fantasy thriller. "Most of us grew up with a sanitized version of Red Riding Hood, but the original fairy tale has darker elements that make it much more intriguing. The idea of a girl going into the woods by herself and having a wolf stalking her and then speaking to her. That holds so much mystery and captures your imagination on so many levels. When you were a child, the story might have meant one thing to you, but looking back on it as a teenager or adult, you respond to it in a completely different way." Jennifer Davisson Killoran (who produced the 2009 chilling tale "Orphan") offers, "It’s an iconic story, and although we may have heard different versions, there are things that are universal: the red cloak, the wolf, the lie, the fear. It’s so simple and yet so terrifying. We were excited about the idea of taking this time-honored tale and changing it up for a modern audience." The implicit message of the Red Riding Hood fable is: don’t talk to strangers. But what if the wolf turns out to be someone you know: someone you trust; someone you love? Killoran observes: "The story plays into our fears that someone close is not really who they appear to be. To me, the big, bad wolf represents the anxiety of not knowing who you’re really dealing with." Putting a twist on the classic tale, the predator in the film is a werewolf, giving it the guise of a human until a full moon illuminates its true nature. Building on that premise, screenwriter David Leslie Johnson ("Orphan") crafted a murder mystery in which everyone is a possible suspect and the resulting terror and paranoia permeates an entire community. "Virtually every single character has that moment where you lose faith in them. We very consciously designed it so that anyone could be the wolf," Killoran confirmed. Hardwicke frimly believes "David did a beautiful job. He dove into the genesis of the legend to get at the essence of it. And then he added his own fertile imagination to the mix and really enriched the story." "I did a lot of research into how the fable had changed as it was passed down, depending on the time and place," Johnson revealed.
"Long before it was tied up in a nice little bow and presented as a fairy tale, it contained some graphic and rather disturbing details and the ending wasn’t quite so pat. I liked the idea of expanding on the story’s origins to generate more danger, suspense and adventure." And there's also the element of romance. Make that a love triangle. The central character, Valerie, is caught between two handsome suitors: Peter, her heart’s desire since childhood, and Henry, the man her parents have chosen for her to marry. Questions about the identity of the werewolf make her choice a matter of not only the heart but of life or death. Further complicating things, she has an encounter with the wolf and is shocked to learn they have a unique and very personal connection. Amanda Seyfried plays the role of Valerie, whose signature red cloak (refered to in the film as the 'Harlot's Cloak') gives the story its name. "The love triangle makes it more interesting because Valerie doesn’t know who to trust," Seyfried (who played Karen Smith in the 2004 Mark Waters film "Mean Girls") says. "She loves Peter, but she is suddenly noticing little nuances about him that make her start to wonder. Could the love of her life be the werewolf? And she is also developing a closer relationship with Henry and sees what a good man he is, but questions arise about him as well. She has to figure out if what she wants is what she needs." The combination of young love, suspense and ancient legend immediately appealed to Hardwicke (who directed the late Heath Ledger in the 2006 film, "Lords of Dogtown"), who recalls: "As I read the script, I got very excited because it took place in a fantasy world but had a dark side. It was a thriller with unexpected turns as well as a compelling love story, which also held some surprises for me. I was really pulled in as the stakes kept getting higher, and more and more secrets and lies were unraveled." For the producers, the choice of Catherine Hardwicke to direct "Red Riding Hood" was an easy one. "Catherine has demonstrated an ability to tap into the soul of younger audiences in a way that few others can. It’s evident in all her films; they are never condescending or stereotypical. There is something very honest in the way she conveys how teenagers communicate, how they think and how they look at the world," Killoran (TV's "Greensburg") notes. The appeal of collaborating with Hardwicke spanned the different generations represented in the cast, from emerging talents to longtime veterans of the screen. 1996 Oscar® winner Julie Christie ("Darling") remarked: "Catherine was an absolute revelation to me. She has a fantastic youthful vitality and is so full of joy, but is also so focused and skilled in getting the job done. Working with her was an extremely positive experience for me." "Having seen her movies, I thought working with Catherine would be intriguing," says 2001 Alan J Pakula Award winner Gary Oldman ("The Contender"). "That was one of the things that attracted me to the project. And when I met her, I loved her passion." Billy Burke ("Twilight" franchise & TV's "24") notes: "I have a huge place in my heart for Catherine. I’ve never met anyone with the energy level she has and it’s infectious. She has a way of infusing everyone on the set with a shared sense of purpose." 2010 ShoWest Breakthrough Female Star of the Year Award winner Seyfried agrees: "She just loves making movies and has so much imagination. When we were in pre-production, she showed me drawings and photos and videos she had put together, which really helped me understand the different facets of my character. She truly is the most creative director I’ve ever worked with."
The main antagonist of the "Red Riding Hood" story is, of course, the wolf. This integral character in the film, was not cast but, rather, created through the magic of CGI. "Oftentimes, werewolf movies focus on the transformation, but we specifically stayed away from that. This story is not about the transition from human to wolf; it is about a wolf who also happens to be human," Killoran revealed. Visual effects supervisor Jeffrey A Okun ("The Last Samurai" & "The Day the Earth Stood Still") worked with 2004 Dorothy Arzner Prize winner Hardwicke ("Thirteen") on the conception of their werewolf, which had to be as shrewd as it was vicious. "Catherine was very clear that the wolf needed to be powerful and malevolent, but also very intelligent. Her challenge to us was not so much to generate a believable creature, but a believable character." With that in mind, Okun and the VFX team at Rhythm and Hues ("X-Men: First Class") worked to instill expression in the beast’s face, especially in the deep brown eyes that, for Valerie, serve as a clue to its human alter-ego. Perpetuating the mystery of the werewolf’s identity, Okun also subtly layered in elements of each character. "The trick was to grab a little something from each actor’s performance, so you might catch a fleeting glimpse of someone’s mannerisms and wonder." Significant research went into making the wolf’s physicality as organic as possible. The VFX team carefully studied the movements of not only wolves but hyenas, cheetahs, panthers, lions, and various dog breeds. "Our goal was to blend canine brute strength with a feline slinkiness so as not to tip our hat whether the wolf is male or female," Okun notes. On the set, the effects team, together with the stunt team, led by 2002 Taurus Award winner Andy Cheng ("Rush Hour 2"), incorporated a variety of methods to provide the cast a physical presence with which to interact. Each of the faux wolves was given a not-so-ferocious nickname, as listed by Okun: "We had a life-size Styrofoam cutout called 'Stuffy', a wolf head with fur called 'Fluffy', and a cardboard silhouette called 'Flatty'." There was, however, one shot that needed no expansion: a fantasy moment that was actually filmed on a nearby mountaintop. As Valerie and Peter trek toward the peak, her flowing red cape is in striking contrast with the blanket of white snow. Executive producer Jim Rowe ("Sucker Punch") recounts: "We had to keep the unit to a minimum because: even though we were filming in summer; at that elevation, the weather can change without warning and you have to be able to get out in an instant. But it went off without a hitch." Bringing her extensive design background to the film, Hardwicke ("Laurel Canyon") also collaborated closely with production designer Tom E Sanders ("Saving Private Ryan" & "Braveheart") and costume designer Cindy Evans ("Laurel Canyon" & Thirteen") in developing the overall atmosphere and look of the film: including the cloak. There are actually two incarnations of the red cloak: one, seen in a fantasy shot, is twenty feet long and is made entirely of velvet; and the main one, worn throughout the film. Evans revealed: "We did a broad fabric search and even contemplated weaving our own cloth until I happened upon a heavy-woven, two-tone silk matka: better known as raw silk; which was perfect." "It was beautiful," Seyfried ("Letters To Juliet") attests. "Wearing it did make me feel like a fair maiden in a storybook." Evans and Hardwicke saved the most extravagant look for Father Solomon. "Centuries ago, only the most expensive dyes were used to produce the color purple. It was the color of royalty and, for us, it was a way to establish that he is a powerful individual."
What's It All About?
 Valerie, is a beautiful young woman torn between two men. She is in love with a brooding outsider and wood-cutter, Peter, but her parents have arranged for her to marry wealthy young Henry. Unwilling to lose each other, Valerie and Peter are planning to run away together when they learn that Valerie’s older sister has been killed by a werewolf that prowls the dark forest surrounding their village. For years, the people have maintained an uneasy truce with the beast, offering the creature a monthly animal sacrifice. But under a blood red moon, the wolf has upped the stakes by taking a human life. Hungry for revenge, the people call on famed werewolf hunter, Father Solomon. But Solomon’s arrival brings unintended consequences. He warns that the wolf, who takes human form by day, could be any one of them. As the death toll rises and total panic grips the town, suspicion falls on Valerie.
The Verdict
"Mention the word 'Twilight' around most critics and you'll witness a blood-curdling transformation. It will shock you! You'll recoil on terror! The veins in your temple will throb, your eyes will bulge and a cold, clammy sweat will ooze from every pore in your body, as, right before your very eyes, they become a real, bonafide monster. A draculian monster with two, big, sharp teeth capable of sucking the life blood out of anything that they think even hints at a resemblence to the highly successful 'Twilight' franchise. Fortunately for this somewhat, 'thick' reviewer, it never ever entered my mind that "Red Riding Hood" has anything to do with 'Twilight'. Except for two factors any dope would pickup on: Catherine Hardwicke directed the first film and Billy Burke is an original cast member. What I wanted to see was something vastly different from the fairy tale story I, like many of you, grew up with. Ok! So the film has a love triangle. That's worked well in hundreds of films so far. Nothing new there. It has a Werewolf. Nothing new there. It's set in medieval times. Oops. Nothing new there either. Superstition and fear of the unknown courses through the veins of the villagers who live in Daggerhorn. Or could it be that many of the critics have their nose out of joint because, as was the case with M Night Shyamalan's "Sixth Sense", they couldn't pick the twist (the revealer) in the film? One thing I am sure of is this: "Red Riding Hood" will not meet every filmgoers expectation. My advice is go in with a clear mind, expect less and you'll probably get more out of this film. It is dark but there are plenty of exciting moments. And what about a talking Werewolf you ask? Well, it talked in the fairy tale, so why not here? The Werewolf, created by the team at Rhythm and Hues, is both convincing and ferocious, as audiences will discover, when the cycle of the 'blood moon' is in effect. "Red Riding Hood" is certainly worth having a look at, especially if you are into the whole fractured fairy tale, horror, werewolf genre. But, if you're not sure, take it in on cheap (tight-arse) Tuesday. Colorful, chilling tale. 3 1/2 STARS."
Who's Playing Who?
Amanda Seyfried
Gary Oldman
Billy Burke
Shiloh Fernandez
Max Irons
Virginia Madsen
Lukas Haas
Julie Christie
Shauna Kain
Michael Hogan
Adrian Holmes
Cole Heppell
Christine Willes
Michael Shanks
Kacey Rohl
Carmen Lavigne
Megan Charpentier
Dj Greenburg
Jen Halley
Alexandria Maillot
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Valerie
Solomon
Cesaire
Peter
Henry
Suzette
Father Auguste
Grandmother
Roxanne
The Reeve
Captain
Claude
Madame Lazar
Adrien Lazar
Prudence
Rose
Young Valerie
Young Peter
Marguerite
Lucie
The Production Team
Run Time 100 minutes
Rated M [AUST]
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