The story begins on a council estate in London, where 'Red' is a bit of a tearaway living by her own rules in a grotty flat with her mum. Her mother, who has half an arm missing, is clearly depressed and struggling. After a failed attempt to take her own life where Red saves her, she eventually succeeds. This leaves Red in a predicament - with no father in the picture, the authorities intend to put her into care. Though she is supposedly fifteen, she is written and portrayed with a maturity far beyond her years.
To avoid the care system, Red seeks out her maternal grandmother. She knows the woman is titled and lives somewhere in Scotland, though they have had no contact for reasons that emerge later. Her only hope of independence is to head for her grandmother’s estate. It turns out the 'estate' is a sprawling Highland property with vast grounds. Clearly, Granny has (or has had) plenty of cash (as well as big teeth!), even if the house itself is somewhat dishevelled.
The groundsman, Malcolm (played by Bill Fellows), picks Red up from the station and delivers her to the imposing house. There, she is introduced to Mary the maid (Jenny Quinn) and 'Lady Penelope' (Lynsey Beauchamp). The supporting characters are as dark, sinister and odd, as one would expect. When Red wants to visit the local town, she is already so spooked by Malcolm that she opts for an old push-bike rather than accepting a lift.
Upon reaching the town, it becomes clear that the locals are wary of the estate. They are haunted by the history of missing children and local myths regarding a 'mad wolf' in the woods. There is a distinct 'Slaughtered Lamb' atmosphere, reminiscent of An American Werewolf in London (1981) about it! Red spends much of the first act investigating her mother’s final days, trying to understand why she abandoned the family for London and the conflicting stories regarding her missing arm. Local legend - and her mother’s own claims - suggested a wolf was responsible, but the official story remains a drug-fuelled car accident.
Tension builds as Red realises the estate is haunted by more than just history - there is also a physical presence to deal with. She begins to suffer from nightmares involving wolves and her mother, unaware that the sinister members of the household are, through various means, controlling her every move. I shall say no more, as it would spoil the twists!
Later in the film, there is no shortage of violence and blood, though much of the action is kept off-screen, leaving us to view the aftermath. Whether this was a cost-saving measure or director Craig Conway’s way of building dread, it does make the film feel a little tamer than it might have been. At times, the low-budget nature is apparent, but this forces the focus onto Red’s growing isolation and confusion.
This is Craig Conway’s directorial debut. Known for his intense acting roles in Doomsday (2008) and The Descent (2005), he brings a gritty, claustrophobic tension to the screen. Perhaps it is more of a chilling thriller than outright horror, but I appreciated the ambition. Regardless of the stunning scenery, the interior scenes make excellent use of thoughtful cinematography. There is a thick atmosphere throughout that perfectly matches the creepy woods, misty climate and dark tone. It is now arriving on streaming services in the UK, so do have a look.
