The 2020s have been replete with reimaginings of fairytales and classic stories. Mostly, these have been in the form of horror movies. Cinderella had its reimagined moment with The Ugly Stepsister, and Bambi just got remade into the mascot horror film Bambi: The Reckoning.

One story that has not been as oft-adapted is “Little Red Riding Hood,” but that is exactly the mission of To Kill a Wolf. Directed by Kelsey Taylor, the film tells a story of an outcast Little Red stand-in, Dani, and her interactions with a lonely Woodsman. As the story unfolds in four acts, more of both Dani and the Woodsman’s dark past is revealed.

I want to make one thing clear when framing this story: To Kill a Wolf is only like “Little Red Riding Hood” in the loosest sense. It is framed with similar beats, following a four-act structure with sections тιтled “Woodsman,” “Grandma,” “The Wolf,” and “Red,” but is far from a literal adaptation.

But with stunning performances and a stirring narrative, I found every departure this movie made from its inspiration completely worthwhile.

To Kill A Wolf’s Unexpected Structure Builds The Intrigue

The Four Acts Build On Each Other

To Kill a Wolf has a great hook: The Woodsman finds a teenage girl stranded in the forest, seemingly on death’s door, who says she has no idea what got her there. As the tension builds between the two characters, it becomes increasingly clear that this teenager is hiding something.

While the first two acts follow this thread, the third act, “The Wolf” (as well as the second half of “Grandma”) catapults viewers back in time. This time skip is a bit jarring at first, disconnected from the earlier half. But this whiplash ends up being more intentional when we realize the kind of trauma Dani has gone through.

I went in blind for this film, only knowing the general “Little Red Riding Hood” framework. This is how To Kill a Wolf is best experienced. I do not want to spoil what “the wolf” ends up being, but trust that it is far from a literal lupine being.

The non-chronological structure, as well as how the film is sectioned off, significantly aids in the film’s creation of suspense. As the chronology weaved back and forth in time, Taylor tugged me along, making me wait anxiously in anticipation of what was going to happen next.

The Stirring Lead Performances Ground To Kill A Wolf

Ivan Martin Is A Big Standout

The one thing that shines the brightest in To Kill a Wolf are the lead performances. While the film is understated in some ways, it puts a lot of emotional demands on its lead actors, particularly for Dani (Maddison Brown) and The Woodsman (Ivan Martin).

But wow, do these two deliver. Martin is the first face we see onscreen, and he is compelling from the start. Watching him in To Kill a Wolf made me wonder why he is not already a huge star. He pulls so much emotional weight and his character’s arc is profoundly moving.

Brown took more time to grow on me, but I think that was kind of the point. Her character’s initial aloofness should not be confused with less in-tune acting. Once she has to emotionally deliver, she does too. The film was carried by these two standout performances, which are among my favorites of the year so far.

The Cinematography Highlights To Kill A Wolf’s Well-Chosen Setting

This Is Such A Masterful Collaboration Between Director & Cinematographer

The visual choices in To Kill a Wolf feel so wonderfully deliberate. This starts with the setting choice itself. Using a densely forested and wintry backdrop, the setting itself helps foster the film’s atmosphere and connect its story to the fairy tale from which it was inspired.

But Taylor and cinematographer Adam Lee work in tandem to elevate this setting with delightful camerawork. The movie makes the best of what was probably a tiny budget, relying on naturalistic lighting and fantastic framing in order to situate its characters within the vast arboreal landscape around them.

These visuals ultimately reveal how much control Taylor has over this narrative. This may not be a summer blockbuster, but it demands to be remembered, commanding space with its visual energy and memorable performances. I want people to see To Kill a Wolf, and I want it to turn these fantastic leads into indie stars.