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Ashlie Mealey
Red Riding Hood is a 2011 American romantic horror film directed by Catherine Hardwicke, and produced by Leonardo DiCaprio, from a screenplay by David Leslie Johnson.[3] The film is very loosely based on the folk tale "Little Red Riding Hood"[4] collected by both Charles Perrault under the name Le Petit Chaperon Rouge (Little Red Riding Hood) and several decades later by the Brothers Grimm as Rotkppchen (Little Red Cap). It stars Amanda Seyfried as the title role, with Gary Oldman, Billy Burke, Shiloh Fernandez, Max Irons, Virginia Madsen, Lukas Haas and Julie Christie in supporting roles.
Valerie lives with her parents, Cesaire and Suzette, and older sister Lucie in the village of Daggerhorn, on the edge of a forest plagued by a werewolf. She is in love with the woodcutter and childhood friend Peter, but her parents arrange for her to marry Henry, son of the wealthy blacksmith Adrien Lazar. Valerie and Peter plan to elope, only to learn the Wolf has broken its truce not to prey on the townspeople and murdered Lucie.
The preacher Father Auguste calls upon the famous witch hunter Father Solomon for help, but the townspeople decide to venture into the Wolf's lair. As the village celebrates, Father Solomon declares that the slain animal is a common grey wolf, as the true werewolf would have reverted to human form. Father Solomon's men isolate Daggerhorn and investigate the villagers to find out the Wolf's identity. That night, the Wolf attacks, and the townspeople shelter in the church while Valerie and her friend Roxanne search for Roxanne's autistic brother, Claude. Cornered by the beast, Valerie discovers she is able to understand the Wolf, who threatens to kill Roxanne and destroy the village if Valerie does not leave with him. The Wolf escapes, vowing to return for Valerie's decision.
The next day, Claude is captured and killed by Father Solomon's men for supposedly practicing black magic. Roxanne reveals that Valerie is able to communicate with the Wolf. Believing Valerie is also a witch, Father Solomon displays her in the town square to lure the Wolf. Henry and Peter help Valerie escape. Henry brings Valerie to the church, where the Wolf bites off Father Solomon's hand with silver-coated fingernails. The villagers shield Valerie from the Wolf, who is again forced to flee after burning its right paw on the church's holy ground. Since Father Solomon has been bitten by the Wolf, the Captain has no choice but to kill him.
Valerie dreams that the Wolf is her grandmother, and rushes to her nearby cabin, where she finds her grandmother dead and discovers that her father, Cesaire, is the Wolf. He reveals the curse was passed to him by his own father and he intended to leave the village with his children, having killed Lucie after realizing she could not understand him in wolf form and realizing Suzette had conceived her through an affair with Adrien. He asks Valerie to accept the curse, but she refuses. Peter appears and Cesaire bites him and throws him aside. Peter throws an axe into Cesaire's back, allowing Valerie to kill her father. Valerie and Peter fill Cesaire's body with rocks and dump him in the lake in order to protect the secret from the villagers. Peter departs, vowing to return when he has learned to control the curse. Valerie says she will wait for him, and watches him depart.
In the next few years, Daggerhorn returns to normal; despite Cesaire's death, the people continue to sacrifice livestock to the werewolf, fearful of its return and not knowing it has been killed, while Suzette realizes Cesaire is never coming back, though she remains unaware that Valerie killed him. Henry becomes the next witch hunter, succeeding Father Solomon and becoming a highly honorable man, while Valerie chooses to live in the forest on her own, having become disillusioned with living in Daggerhorn. Finally, one night, Valerie hears something in the woods outside her grandmother's former house that she has moved into. She is then greeted by Peter, transformed into a werewolf and in full control of his abilities, when he returns to be with her. In the ending of the alternate cut, when Valerie sees Peter upon his return, she is holding their baby.
Under Appian Way Productions, Leonardo DiCaprio, Michael Ireland, Jennifer Davisson Killoran, Alex Mace, and Julie Yorn produced the film.[5][6] Early into production, the film was originally titled The Girl with the Red Riding Hood. Due to the fact that Seyfried did not like Fernandez based on a previous encounter at a dinner party, director Catherine Hardwicke had to persuade the actress to give the actor a chance.[7] Principal photography took place in Vancouver from July 21 to September 16, 2010.[8]
Red Riding Hood has a 10% approval rating at review aggregator Rotten Tomatoes based on 208 reviews, with an average score of 3.75/10. The site's critical consensus reads, "Amanda Seyfried is magnetic in Red Riding Hood's starring role, but she's let down by her uninspired leading men and a painfully clichd script."[14] Metacritic calculated a score of 29 out of 100 based on the opinions of 36 critics, indicating "generally unfavorable reviews".[15]
USA Today complimented the production design, but wrote that, "it's a foolish story, marred by a strange blend of overacting and bland, offhand performances."[16] Roger Ebert gave the film one star out of four, stating it is "a movie that cross-pollinates the Twilight formula with a werewolf and a girl who always wears a red-hooded cape, although I don't recall her doing any riding... it has the added inconvenience of being serious about a plot so preposterous, it demands to be filmed by Monty Python."[17]
The novelization by Sarah Blakley-Cartwright received criticism for not including the story's final, concluding chapter, which instead was only made available for download online following the release of the film.[20][21]
When it comes to Netflix's The Grimm Variations, one of the most refreshing things in this anime anthology is how the stories differ. Some are grounded, as seen with Cinderella being a maniacal killer sabotaging her family. Others are a bit more high-concept and technology heavy.
The second episode, "Little Red Riding Hood," has that Black Mirror feel to it. It uses interesting tools to subvert the concept of the wolf and Red Riding Hood from the Brothers Grimm's source material. In the process, it leans into the idea of the wolf in sheep's clothing, drastically altering what happened from the lore.
The dark twist is, this isn't Red Riding Hood. It's a young lady who uses the Eyedrop; a tool that allows people to be the best versions of themselves in an AI reality. Grey broke the tech, though, revealing her true form in the real world. He didn't see her as anything beautiful, so he feels comfortable in doling out what he sees as punishment for the lie. It's a very superficial, cosmetic way of thinking. He knows the facade is all style and no substance. However, whether it's in the real-world or virtual reality, he just wants to feed on ladies.
It's very much the epitome of toxic masculinity. Sadly, he is part of a gentleman's club who does this. They have certain rules, which Brown lays down. But Grey wants more. Grey also hopes to break one rule, venture off the club grounds and murder, where he has no jurisdiction or protection. This leaves fans guessing who's a real person in the hunt, coming off like a Blade Runner anime a bit where viewers aren't sure who's a replicant. Here, it's uncertain who is digital or real.
It remixes the lore in a big way. The first tale had the wolf hiding out, pretending to be Red Riding Hood's grandmother at the lady's cottage. He then ate the girl after he previously ate granny. The French version had a lumberjack cutting the wolf open, freeing Red and her granny, and placing rocks in its tummy. This caused the wolf to die. The Grimm version had the wolf falling into a well and drowning due to the stones inside. In this dramatic anime, it feels like Grey has all his wolf angles patched, so he can get a hungry, happy ending.
Red is named Scarlet here. She wears a hood and is someone the predator marks in the real world. He asks Granny, who is better known as "Madam," to sort his bloodlust out. Madam is a handler; a fixer who can arrange for such murders. She warns him he might be excommunicated. But he follows through because he thinks he has power and influence. It's the mark of a true narcissist in Season 1 of The Grimm Variations. Madam sets it all up. Grey saves Scarlet from a robber and has drinks with her. He is planning to drug and then assault her.
Shockingly, he passes out. He wakes up restrained like one of the victims from the Saw movies. Scarlet admits she's in charge. She always has been. She set things up with the robber, wanting to fake looking weak. Now, she has the villain of her story. She murders Grey in a graphic scene. This sequence has blood and gore, shaping Scarlet like a vigilante. All this time, she has been manipulating and marking the wolf, seeking to punish him for his crimes. It gives Red an edgier, aggressive feel. Someone who will not be prey to this fiend.
Red returns to Madam after the kill. She smiles sadistically, affirming she is going to hunt her own targets. Madam acknowledges, knowing she has a wolf in her midst. In this case, it's a nice lady playing coy, baiting killers in and giving them a test of their misogynistic medicine. The tables have indeed turned. That final shot of Red accepting her fate is quite menacing. She lapped up cutting Grey to pieces. But this doesn't mean Red's story has to end there. It could involve Madame and her relics shop as well.
Brown is still out there. He phones Madam to ask about Grey, but she doesn't snitch. She lets him know, even if she knew about his apprentice, the man wandered outside of the cult's purvey. Anything that happens is on him. It creates a potential rift. Red can infiltrate the club to take out more wolves. Or they could try to invert the story and set traps for her. They would love to torture her, not just in the name of avenging their elite colleague, but because a rebel like her is what the men get off on: resistance.
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