an interesting and surprisingly rhapsodic slasher film, 'little erin merryweather' combines fairy-tale imagery, classic horror genre elements, romantic comedy elements, and burton-esque flights of fancy to tell the story of a little girl who is 'lost in the woods' due to scarring abuse as a child. the setup and plot progression are typical (and almost dull in their by-the-book crime thriller development), but the proceedings are boosted by some suprisingly strong performances (particularly the psych teacher) and a creepy, sing-songy lilt that i've never really seen before in this type of film (i can only compare it to "dead of winter", "jack be nimble", and "the company of wolves", although i can't even really say why). deliciously eerie childlike music and fantastic illustrations and voiceover let on from the start that this is not your typical cut-em-up, but then fairly standard scare scenes bring you back to the reality that yes, it may be just that. left a somewhat stale taste in my mouth due to the demonisation of a victim of abuse (a tired and potentially insulting thriller theme that's been virtually abandoned), but earned definite points for its clean, economic direction and unique tone. i'd like to see more from these guys. screened at the nychff.
35 Reviews
Pathetic remake of 'Deep in the Woods'
Shattered_Wake22 June 2008
Warning: Spoilers
The plot isn't bad: A 'Little Red Riding Hood' serial killer stalks men (for an idiotic reason, you'll find out by the end) on a New England college campus, stabbing them to death and filling their stomachs with stone. Unfortunately, it was pretty much done (in the reverse) with the French slasher 'Deep in the Woods' a few years prior. Mix that with some 'Don't Look Now' and every other college slasher ever made, and you have your story. Regardless of its originality, I still thought it could be a cool idea. . . but it's the execution that ruins it.
The actors all seemed to be 'come as you are' kinda people. The director obviously didn't expect them to dress acceptably, or shave, or look good. . . or know how to act. But, hey, there's only so much you can do with a shell of a script, so I'll try not to blame the actors too much. I mean. . . the writer had the people rhyming. If I wanted rhyming, Dr. Seuss is the way to go. The gore and violence seems to be mostly composed of gurgling sounds, shy cameramen, and fake blood in bicycle pumps. Isn't that what we horror fans always look for in a good slasher? (Please note sarcasm.) The direction and cinematography attempts to be artsy, but ends up just plain dumb. And there were parts where I actually laughed out loud at the camera-work. For instance, in a library conversation where the cameraman seemed to forget where he was supposed to be pointing the camera, so he just jerked it to one side and, I assume, hoped no one would notice. But, if you don't notice, I suppose you should exchange braille for films.
In the end, ignoring all of the poor technical aspects of the film, it's still watchable and may be enjoyable to fans of the normal 'teen/college' (though many were way, WAY above teen and only pretending to be young) slasher flicks. . . and, while it does have a bit more intelligence to it, it's simply not enough and it only hampers the enjoyability of the film. The one thing the film did have going for it is a good amount of suspense. But, the suspense is quickly ruined for it when you realized there is absolutely NO mystery at all throughout the entire film. I mean, we saw the killer's face numerous times, and yet we were still supposed to be trying to figuring out a mystery? Don't think so. Suspense & Mystery, in a film like this, should usually go hand in hand. But if you can't utilize both, try to at least master one and just kinda hint at the other.
Overall, the film is less-than-mediocre, which (for me) is the worst thing a film can achieve. Make it awful and infamous, or make it good and famous. Mediocrity is not memorable.
Final Verdict: 3/10.
The actors all seemed to be 'come as you are' kinda people. The director obviously didn't expect them to dress acceptably, or shave, or look good. . . or know how to act. But, hey, there's only so much you can do with a shell of a script, so I'll try not to blame the actors too much. I mean. . . the writer had the people rhyming. If I wanted rhyming, Dr. Seuss is the way to go. The gore and violence seems to be mostly composed of gurgling sounds, shy cameramen, and fake blood in bicycle pumps. Isn't that what we horror fans always look for in a good slasher? (Please note sarcasm.) The direction and cinematography attempts to be artsy, but ends up just plain dumb. And there were parts where I actually laughed out loud at the camera-work. For instance, in a library conversation where the cameraman seemed to forget where he was supposed to be pointing the camera, so he just jerked it to one side and, I assume, hoped no one would notice. But, if you don't notice, I suppose you should exchange braille for films.
In the end, ignoring all of the poor technical aspects of the film, it's still watchable and may be enjoyable to fans of the normal 'teen/college' (though many were way, WAY above teen and only pretending to be young) slasher flicks. . . and, while it does have a bit more intelligence to it, it's simply not enough and it only hampers the enjoyability of the film. The one thing the film did have going for it is a good amount of suspense. But, the suspense is quickly ruined for it when you realized there is absolutely NO mystery at all throughout the entire film. I mean, we saw the killer's face numerous times, and yet we were still supposed to be trying to figuring out a mystery? Don't think so. Suspense & Mystery, in a film like this, should usually go hand in hand. But if you can't utilize both, try to at least master one and just kinda hint at the other.
Overall, the film is less-than-mediocre, which (for me) is the worst thing a film can achieve. Make it awful and infamous, or make it good and famous. Mediocrity is not memorable.
Final Verdict: 3/10.
Did I watch a different movie?!
fairlesssam28 July 2017
I cannot understand all the positive reviews of this film. You know who did it, and why, from the start - what on earth is the point in that? I thought maybe it was because there was going to be a twist but no.
It's poorly shot, the script is uninteresting, the plot is uninteresting, the acting is not good and Erin, who is supposed to be a college student, looks more like a middle-aged mother OF a college student.
It is not scary in the slightest, not even close. To me it's a very bad TV movie, boring and a waste of time.
It's poorly shot, the script is uninteresting, the plot is uninteresting, the acting is not good and Erin, who is supposed to be a college student, looks more like a middle-aged mother OF a college student.
It is not scary in the slightest, not even close. To me it's a very bad TV movie, boring and a waste of time.
The Librarian From Hell
ken-cullum18 June 2008
I've seen plenty of nanny from hell flicks but this movie is sort of the librarian from hell. I couldn't figure out if I wanted to sleep with her or take a bat and bludgeon her to death. The actress that played Erin really got under my skin. Although I would have liked to seen her naked or someone in the film take their clothes off, but it is what it is. The scene where she really freaks me out is where she's looking out a window or something, looking all insane and spaced out. The dude who played the cop was a bit over the top but the rest of the lead actors were actually pretty damn good. The other thing that I thought was freaky was the little kid's nursery rhymes and as the movie goes on, you realize that these have double meanings for all the murders which is pretty cool. I also liked how they filmed everything with the color red. Low budget and flawed but really dig the style.
Ahead of Its Time - Solid Indie Film
seamusos-3780924 April 2024
"Little Erin Merryweather," a refined gem of the art house genre, deserved its awards. Vigdis Anholt's compelling portrayal of the female killer infuses the film with a profound feminist undertone. David Morwick's performance as the 'final boy' is a highlight, seamlessly blending humor and emotion. The picturesque snowy landscapes and enchanting illustrations by Kelly Murphy contribute to the film's visual allure, perfectly complemented by Paul Cristo's award-winning indie score, which elevates the viewing experience to new heights.
What truly distinguishes this film is its ingenious killer calling card - victims adorned with stones in their abdomen. This chilling twist on the classic tale of Little Red Riding Hood cements "Little Erin Merryweather" as a work of art, shattering conventions and proving itself to be ahead of its time.
What truly distinguishes this film is its ingenious killer calling card - victims adorned with stones in their abdomen. This chilling twist on the classic tale of Little Red Riding Hood cements "Little Erin Merryweather" as a work of art, shattering conventions and proving itself to be ahead of its time.
Wash your hands kiddies!
malleymarge3 June 2008
feel like this should be the tag line.This by no means is perfect and I'm giving this six stars not a perfect ten.Some of the murders are WAY too long and drawn out! god help us it's too slow at times,but I really liked this kiddies.The script is creative and thank god this is not another scooby do mystery I'm sooo over those.The acting for a slasher is good,Anholt and Morwick would be the strongest out of the bunch.Most low budgets like these consist of just naked girls getting their heads cut off, this is a bit more sophisticated than that.The music is gorgeous in this, almost too beautiful for a slasher.Question anyone have more info on the artist who did the sketches for the movie? love to see more of her work,let me know.
Great Indie, The Final Boy
cappytom374 September 2023
I love that this film plays with the gender of roles. It's not often that we see a final boy in horror. David Morwick plays this role well. He adds physical comedy and he also has a range of emotions where he cries over the loss of his friends and is scared to death, hiding under a table to escape being the next victim. Morwick went on to win multiple acting awards in different genres in film.
Brandon Johnson is good as his smart aleck best friend, especially since he is known for his TV hosting. Frank Ridley plays the gruff cop that we all love to hate. He has been in such blockbusters as "Don't Look Up". Norwegian film and theater actress, Vigdis Anholt is breathtaking to look at but don't let her looks fool you. She can act. There are times where she gives her male victims a death stare that will make the hairs on the back of your neck stand up.
Kelly Murphy adds a whole layer to the film with her dark, fanciful artwork. Murphy went on to become a highly successful American author and illustrator. Given the original idea of using Little Red Riding Hood as a serial killer, this little film falls into several genres; horror, psychological thriller, and fairy tale. For such a low budget indie, I was completely blown away by the film's original sound track composed by Paul Cristo as well as the cinematography by Michael Pessah which almost adds a European flair to it. This was ahead of its time, especially given the Me Too movement.
Brandon Johnson is good as his smart aleck best friend, especially since he is known for his TV hosting. Frank Ridley plays the gruff cop that we all love to hate. He has been in such blockbusters as "Don't Look Up". Norwegian film and theater actress, Vigdis Anholt is breathtaking to look at but don't let her looks fool you. She can act. There are times where she gives her male victims a death stare that will make the hairs on the back of your neck stand up.
Kelly Murphy adds a whole layer to the film with her dark, fanciful artwork. Murphy went on to become a highly successful American author and illustrator. Given the original idea of using Little Red Riding Hood as a serial killer, this little film falls into several genres; horror, psychological thriller, and fairy tale. For such a low budget indie, I was completely blown away by the film's original sound track composed by Paul Cristo as well as the cinematography by Michael Pessah which almost adds a European flair to it. This was ahead of its time, especially given the Me Too movement.
Flawed slasher from fun premise
slayrrr6667 March 2008
Warning: Spoilers
"Little Erin Merryweather" is good whenever it focuses on being a horror film.
**SPOILERS**
Following a brutal murder on campus, Peter Bloom, (David Morwick) tries to get other journalism students Teddy Govern, (R. Brandon Johnson) Sean Kelleher, (Marcus Bonnee) and Kyle Andrews, (Phil Darovic) to figure out the truth. When he hears that Officer Joe Havey, (Frank Ridley) and Dr. Paula Sheppard, (Elizabeth Callahan) are also investigating the incident, they let them do the legwork in the case as they believe that a serial killer is responsible due to the brutality of the incident. When more killings appear on campus, they turn to each other's expertise for help, and realize that it fits a children's poem about a young woman who is following in the same tradition as the crime spree around campus. Learning that it is indeed a woman, they turn towards Erin Merryweather, (Vigdis Anholt) a librarian on campus with a fascination for children's tales, and race to stop her rampage before it takes others.
The Good News: This here was actually pretty decent at times. One of the main things it gets right is the fabulous amount of knowledge it portrays with the different fairy tales and stories that it uses for the back-story of the film. There's several different backs-stories in here, with the several ones that are presented here are cleverly woven into the film and provide a very strong back-story that makes the film work on several levels. The film is at it's most effective, though, when it really works in the horror elements and it uses them as complete perfection for it's scenes. The main sequences in the library are perfect proof, since the fact that the isolation through both the location and the characters. That there's two of them in the film is a great testament to being able to pull them off and make each one an entertaining effort. The last one is easily the best one of the two, managing to make it creepy without the addition of a second sequence with an extended, ultra-creepy stalking through darkened library stacks. It's a bit longer than expected, which is where it really gets the majority of it's power from, since it is so long and gets so many good ideas and sequences in that make it a tense showcase. That it's the intense finale of the film is something to be admired, as it's best scene is right before the ending allows it for a fantastic concluding image of the film. Though not all that explicit, the very fact of what the kills entice, mainly the stuffing of rocks into the split open stomach region, and there's also a couple of really good stabbings as well as an impaling with hedge-clippers in here to make it feel a little more graphic and fun. These here are film's good points.
The Bad News: This one here doesn't have that many flaws at all. Most of the film's trappings are given by the fact that it decides to become a thriller rather than a slasher during the middle segment of the film. This is something that comes from the fact that it plays more like one in the course of using the clues presented from the killings to present an idea of who the killer is, and the realization of what the clues mean and where they're coming from constitutes the middle segment of the film, and it takes up the majority of the film at the expense of the slashing, rendering it with a slightly lower body-count than it should have. It picks up later on at the end, but by then it's already too late and most of the running time has been taken up with the thriller angle rather than the slasher one. It's something to get over, which is luckily the main problem here, the thriller angle that ruins the film's potential slashing parts in the middle that slows the film's pace down. Overlooking that, there's not much to slow this one down.
The Final Verdict: While not the best slasher around, it's good points are enough to give it something for fans to get enjoyment out of. Give it a shot if you're into the more modern-day slashers or the thriller-angle style films, while those looking for a straight-forward slasher without the other parts might be disappointed.
Rated R: Graphic Language and Violence
**SPOILERS**
Following a brutal murder on campus, Peter Bloom, (David Morwick) tries to get other journalism students Teddy Govern, (R. Brandon Johnson) Sean Kelleher, (Marcus Bonnee) and Kyle Andrews, (Phil Darovic) to figure out the truth. When he hears that Officer Joe Havey, (Frank Ridley) and Dr. Paula Sheppard, (Elizabeth Callahan) are also investigating the incident, they let them do the legwork in the case as they believe that a serial killer is responsible due to the brutality of the incident. When more killings appear on campus, they turn to each other's expertise for help, and realize that it fits a children's poem about a young woman who is following in the same tradition as the crime spree around campus. Learning that it is indeed a woman, they turn towards Erin Merryweather, (Vigdis Anholt) a librarian on campus with a fascination for children's tales, and race to stop her rampage before it takes others.
The Good News: This here was actually pretty decent at times. One of the main things it gets right is the fabulous amount of knowledge it portrays with the different fairy tales and stories that it uses for the back-story of the film. There's several different backs-stories in here, with the several ones that are presented here are cleverly woven into the film and provide a very strong back-story that makes the film work on several levels. The film is at it's most effective, though, when it really works in the horror elements and it uses them as complete perfection for it's scenes. The main sequences in the library are perfect proof, since the fact that the isolation through both the location and the characters. That there's two of them in the film is a great testament to being able to pull them off and make each one an entertaining effort. The last one is easily the best one of the two, managing to make it creepy without the addition of a second sequence with an extended, ultra-creepy stalking through darkened library stacks. It's a bit longer than expected, which is where it really gets the majority of it's power from, since it is so long and gets so many good ideas and sequences in that make it a tense showcase. That it's the intense finale of the film is something to be admired, as it's best scene is right before the ending allows it for a fantastic concluding image of the film. Though not all that explicit, the very fact of what the kills entice, mainly the stuffing of rocks into the split open stomach region, and there's also a couple of really good stabbings as well as an impaling with hedge-clippers in here to make it feel a little more graphic and fun. These here are film's good points.
The Bad News: This one here doesn't have that many flaws at all. Most of the film's trappings are given by the fact that it decides to become a thriller rather than a slasher during the middle segment of the film. This is something that comes from the fact that it plays more like one in the course of using the clues presented from the killings to present an idea of who the killer is, and the realization of what the clues mean and where they're coming from constitutes the middle segment of the film, and it takes up the majority of the film at the expense of the slashing, rendering it with a slightly lower body-count than it should have. It picks up later on at the end, but by then it's already too late and most of the running time has been taken up with the thriller angle rather than the slasher one. It's something to get over, which is luckily the main problem here, the thriller angle that ruins the film's potential slashing parts in the middle that slows the film's pace down. Overlooking that, there's not much to slow this one down.
The Final Verdict: While not the best slasher around, it's good points are enough to give it something for fans to get enjoyment out of. Give it a shot if you're into the more modern-day slashers or the thriller-angle style films, while those looking for a straight-forward slasher without the other parts might be disappointed.
Rated R: Graphic Language and Violence
A Horror Movie That Takes The High Road
lauraindiereviewer8 October 2010
To paraphrase Robert Benchley: Little Erin Merryweather takes the road less traveled — in this case, the high road, and along the way manages to kick every modern horror movie cliché to the curb. Item 1: Viewers know instantly whodunit. But the characters don't, and as Hitchcock always knew, that's where the real fun—and suspense—is. Item 2: Said killer isn't a one-dimensional mad slasher sporting a hockey mask. Instead, she (Vigdis Anholt) — that's right, she — remains winsome and wise with crystal-blue eyes (when sane, that is). Still, it's enough to charm Item 3, the curly blond male lead (David Morwick), yet not the actual hero of the film, notwithstanding his dashing looks, sheepish grins and seductive lip-biting. Instead, that role goes to Item 4, the smart, attractive psychologist (Liz Callahan), clearly in charge though (uh-oh) female and fiftysomething. And finally, Item 5: The violence isn't repulsive. Instead, it's restrained, just like the film's de rigueur indie-driven budget — yet a talented cast and crew, performing double or sometimes triple-duty (Morwick also scripted and directed), burnish a strikingly-polished film. Which is why Little Erin's journey down that untrodden road is such a wild, bumpy and cheerfully creepy ride.
I liked it
mrkittan28 May 2018
cool little flick
nycham20008 December 2003
Well, not exactly an academy award winner but Little Erin Merryweather is definitely a cool little flick. Made a huge splash at the New York City Horror Film Festival which is where I saw it. A bizarre scene with people in the aisles dressed like Little Red Riding Hood with their faces painted. It was a very Rocky Horroresque experience (Although I'm not a fan of the Rocky Horror Show.) I could definitely see Little Erin Merryweather coming to your local theater. Very cool story with some of the best artwork I've seen in horror or otherwise.
Really no complaints other than one lame scene (the guy with the hedge clippers). However, I have to say his death was pretty rad. Overall, check it out when it comes out. Definitely will launch the careers of the talent involved, especially some of the cast-Erin of course, Peter, etc. My only advice to the Little Erin filmmakers would be to use a little more gore if there is a sequel. But hey, this is just my opinion as I'm one of the biggest Evil Dead fans.
hm-OH
Really no complaints other than one lame scene (the guy with the hedge clippers). However, I have to say his death was pretty rad. Overall, check it out when it comes out. Definitely will launch the careers of the talent involved, especially some of the cast-Erin of course, Peter, etc. My only advice to the Little Erin filmmakers would be to use a little more gore if there is a sequel. But hey, this is just my opinion as I'm one of the biggest Evil Dead fans.
hm-OH
Fresh and original for a first film
BenjAii31 October 2007
One of the great things about the internet having become a semi-official film distribution channel is it giving people the chance to view films they never otherwise would have had a chance to see, particularly first time film-makers and those trying to make a name for themselves.
Little Erin Merryweather would fall into that category for me. I have no idea how writer, director and actor in this piece David Morwick, feels about his film being available in the high quality divx format on the internet, but maybe he should be glad, as it will create an audience for his work it's unlikely he would have had any other way.
With the constraints of first time film making, especially lack of experience, it is always good to focus on the positives in reviewing these films. You will of course expect mistakes and it is a measure of the films success in how far the positives outweigh the negatives.
Little Erin Merryweather succeeds abundantly in scoring positives.
Already mentioned in its reviews here are its art work and photography, they're beautiful. Beautiful photography is always an asset to good story telling and in this case, along with the art work, ties in especially well with the theme of the fairy story within a story.
That theme itself is another plus for LEM. The genre is turned on its head by it's rewriting of Little Red Riding Hood and I like the idea that that was played with. Also clever was the fact that the film doesn't allow it's self to be neatly categorised into any one genre, and that too is a strength that lends originality.
All in all (and given that it had just turned midnight on Halloween!) I enjoyed watching LEM. However there always has to be negatives in criticising too! What puzzles me with LEM, given how much Mr Morwick got superbly right for a first film, is that it's actually quite silly things that let him down.
The policeman and his intervention was very, very unrealistic. I realise there were budget constraints, but if a serial killer has killed three people in three days, there will be more than one police officer involved, who will not just be sharing information with a college lecturer.
A small point maybe, but it made the last twenty minutes of the film seem more contrived and the eventual denouement a bit silly. I think he could have waited until further into the film before Erin's identity were revealed and that would have helped maintain tension for longer. If I had to sum up LEM's flaws, it would be that if explored just a bit more deeply, it's story would have had a great deal for nuance and subtlety to give up and that it would have elevated the film from excellent to something really special. Where Mr Morwick scores B+ here, you feel he definitely has the potential for A's.
Still, given its freshness and originality, I'm glad I spent the time with Little Erin Merryweather; it has a lot to recommend it.
Little Erin Merryweather would fall into that category for me. I have no idea how writer, director and actor in this piece David Morwick, feels about his film being available in the high quality divx format on the internet, but maybe he should be glad, as it will create an audience for his work it's unlikely he would have had any other way.
With the constraints of first time film making, especially lack of experience, it is always good to focus on the positives in reviewing these films. You will of course expect mistakes and it is a measure of the films success in how far the positives outweigh the negatives.
Little Erin Merryweather succeeds abundantly in scoring positives.
Already mentioned in its reviews here are its art work and photography, they're beautiful. Beautiful photography is always an asset to good story telling and in this case, along with the art work, ties in especially well with the theme of the fairy story within a story.
That theme itself is another plus for LEM. The genre is turned on its head by it's rewriting of Little Red Riding Hood and I like the idea that that was played with. Also clever was the fact that the film doesn't allow it's self to be neatly categorised into any one genre, and that too is a strength that lends originality.
All in all (and given that it had just turned midnight on Halloween!) I enjoyed watching LEM. However there always has to be negatives in criticising too! What puzzles me with LEM, given how much Mr Morwick got superbly right for a first film, is that it's actually quite silly things that let him down.
The policeman and his intervention was very, very unrealistic. I realise there were budget constraints, but if a serial killer has killed three people in three days, there will be more than one police officer involved, who will not just be sharing information with a college lecturer.
A small point maybe, but it made the last twenty minutes of the film seem more contrived and the eventual denouement a bit silly. I think he could have waited until further into the film before Erin's identity were revealed and that would have helped maintain tension for longer. If I had to sum up LEM's flaws, it would be that if explored just a bit more deeply, it's story would have had a great deal for nuance and subtlety to give up and that it would have elevated the film from excellent to something really special. Where Mr Morwick scores B+ here, you feel he definitely has the potential for A's.
Still, given its freshness and originality, I'm glad I spent the time with Little Erin Merryweather; it has a lot to recommend it.
Loved that this was more of an art house horror film.
musicloveraf20 August 2012
What makes this more of an art house film is that the blood letting is limited, it's picturesque and it's story is decidedly different. The notion of cutting open the victim's stomach and filling a cavity with rocks gives it a fairy tale appearance. The killer tells the story which is a very cool twist and does it against a backdrop of fantastic art work.
Vigdis Anholt was such a compelling villainess. Erin is an intimidating and memorable character. She embodies a child-like innocence but yet instills a nagging feeling that something isn't quite right. Certain sights and sounds trigger her inner demons. It really is a feminist movie in its own right.
I was impressed with David Morwick's portrayal of Peter as the lone surviving male. He is a sympathetic character. Like Erin, he's ultimately a bit of a loner. Erin and Peter 's scenes together, have elements of romantic comedy which adds a bit of charm.
The film has a musical sensibility and is creepy but yet angelic. There is striking imagery. White snow was a beautiful contrast with Erin's blood-red cape. As for the music, I love the dramatic power of the choir. Make no mistake, for a little horror film, the music is striking.
Vigdis Anholt was such a compelling villainess. Erin is an intimidating and memorable character. She embodies a child-like innocence but yet instills a nagging feeling that something isn't quite right. Certain sights and sounds trigger her inner demons. It really is a feminist movie in its own right.
I was impressed with David Morwick's portrayal of Peter as the lone surviving male. He is a sympathetic character. Like Erin, he's ultimately a bit of a loner. Erin and Peter 's scenes together, have elements of romantic comedy which adds a bit of charm.
The film has a musical sensibility and is creepy but yet angelic. There is striking imagery. White snow was a beautiful contrast with Erin's blood-red cape. As for the music, I love the dramatic power of the choir. Make no mistake, for a little horror film, the music is striking.
Well executed. This film is a perfect example of people making a great horror flick with limited resources.
evanmatthews5329 October 2008
When I finished watching this film, I felt sucker-punched. I was hoping for some laughs from another grade D horror film. I guess the joke's on me. Little Erin Merryweather was good, not perfect but good. David Morwick is kind of the man behind the curtain as director, actor, writer. (most indies require people to wear a lot of hats which he did well) But I think it's safe to say his strength is in the acting department.
Morwick is very funny and likable in the lead role of Peter and probably brings in the strongest performance. We all know that bumbling, fidgety kid we went to school with and Morwick plays that part perfectly, to a tee. Although Vigdis Anholt (Erin) doesn't say much, her performance can be summed up by the old adage, "if looks could kill. . ." Her body language and chilling stares is what spooked me the most. I give the filmmakers two thumbs up for turning the genre on its head in a sense and letting a female villain take a whack at this. Where the film falls short is in the pacing. It's just a little slow at times, probably due to budget issues. But, this has made up for an overall style, mood and atmosphere of the film. Before you poo-poo this as just another low budget slasher, take another look. Speaking of the look of the film, it really captured those rich, depth of field shots.
What struck me the most with Little Erin Merryweather and I have seen other people comment on this is that they really achieved the throwback to the "70's". This film looks like it was made in 1976, 1977, right down to the actors. I would never have guessed this was made today. There's no morphed reflection of today's society at all. I don't know how they achieved this, but they did.
Morwick is very funny and likable in the lead role of Peter and probably brings in the strongest performance. We all know that bumbling, fidgety kid we went to school with and Morwick plays that part perfectly, to a tee. Although Vigdis Anholt (Erin) doesn't say much, her performance can be summed up by the old adage, "if looks could kill. . ." Her body language and chilling stares is what spooked me the most. I give the filmmakers two thumbs up for turning the genre on its head in a sense and letting a female villain take a whack at this. Where the film falls short is in the pacing. It's just a little slow at times, probably due to budget issues. But, this has made up for an overall style, mood and atmosphere of the film. Before you poo-poo this as just another low budget slasher, take another look. Speaking of the look of the film, it really captured those rich, depth of field shots.
What struck me the most with Little Erin Merryweather and I have seen other people comment on this is that they really achieved the throwback to the "70's". This film looks like it was made in 1976, 1977, right down to the actors. I would never have guessed this was made today. There's no morphed reflection of today's society at all. I don't know how they achieved this, but they did.
Beware the Creepy Doll of Cracked Porcelain, Complete with a Pair of Hollowed-Out Eyes. . .
Indyindiemoviereviews6 January 2010
Warning: Spoilers
A quirky paean to horror films of decades past, Little Erin Merryweather has a panache all its own, with an eerie yet elegant storyline punctuated by scares and shocks reminiscent of the classic thriller Halloween — and a back story that re-boots, of all things, Little Red Riding Hood.
But this modern-day fairy tale turns very grim and may not have a happy ending. Somewhere, lurking amidst the snowy woods of a small college town, a killer in red dispatches victims with three startling similarities: They're male, they're blond, and they have (take note) dirty hands. It's not a spoiler to say the killer is female and her motivation stems from a horrific childhood. Now she wants revenge. So beware her creepy doll of cracked porcelain, complete with a ghoulish pair of hollowed-out eyes. And just know: If there's a flash of red — trouble's ahead.
After the first murder, college student Peter Bloom (David Morwick) suspects a serial killer on the loose. His buddies on the school paper razz him. After all, they point out, Peter also believes in Bigfoot and claimed one of his professors was a werewolf. Still, like any good reporter, Peter snoops, until uncovering the scoop that may win him a byline but cost him his life.
Morwick — who also directed the film and wrote its screenplay — is charming and determined, brave enough to take on the killer in a spooky school library, yet vulnerable enough to shyly squirm and stammer during a coffee date. Vigdis Anholt somehow brings a sweet, sympathetic frailty to her role as a serial killer. True, she's a loon, but not a mindless one, and when she flirts with Morwick and looks into his handsome face, you just know there's a part of her that wants to date this guy, not decapitate him. Then she looks at his fingers — too bad, the poor boy apparently has newsprint or something on them -— and her rage kicks in.
Unlike nearly all of today's horror films — including virtually every minute of the Saw franchise — Merryweather's scares don't soak you in blood. For sure, the shocks are there; be prepared to jump half-a-dozen times during the climax. But as Hitchcock proved in Psycho, and Carpenter mastered in Halloween, Morwick's use of sound, like the slash of a knife slicing a body, are actually far more terrifying than displaying bloody leftovers.
Grossing out moviegoers is easy. Jolting them is hard. Giving them a reason to care about characters in trouble — even harder. Little Erin Merryweather takes that hardest of roads and succeeds. Much more than gore, its haunted resonance offers a lingering chill. Put it this way: If Jaws kept swimmers out of the water, then Little Erin Merryweather surely will keep your fingernails clean.
But this modern-day fairy tale turns very grim and may not have a happy ending. Somewhere, lurking amidst the snowy woods of a small college town, a killer in red dispatches victims with three startling similarities: They're male, they're blond, and they have (take note) dirty hands. It's not a spoiler to say the killer is female and her motivation stems from a horrific childhood. Now she wants revenge. So beware her creepy doll of cracked porcelain, complete with a ghoulish pair of hollowed-out eyes. And just know: If there's a flash of red — trouble's ahead.
After the first murder, college student Peter Bloom (David Morwick) suspects a serial killer on the loose. His buddies on the school paper razz him. After all, they point out, Peter also believes in Bigfoot and claimed one of his professors was a werewolf. Still, like any good reporter, Peter snoops, until uncovering the scoop that may win him a byline but cost him his life.
Morwick — who also directed the film and wrote its screenplay — is charming and determined, brave enough to take on the killer in a spooky school library, yet vulnerable enough to shyly squirm and stammer during a coffee date. Vigdis Anholt somehow brings a sweet, sympathetic frailty to her role as a serial killer. True, she's a loon, but not a mindless one, and when she flirts with Morwick and looks into his handsome face, you just know there's a part of her that wants to date this guy, not decapitate him. Then she looks at his fingers — too bad, the poor boy apparently has newsprint or something on them -— and her rage kicks in.
Unlike nearly all of today's horror films — including virtually every minute of the Saw franchise — Merryweather's scares don't soak you in blood. For sure, the shocks are there; be prepared to jump half-a-dozen times during the climax. But as Hitchcock proved in Psycho, and Carpenter mastered in Halloween, Morwick's use of sound, like the slash of a knife slicing a body, are actually far more terrifying than displaying bloody leftovers.
Grossing out moviegoers is easy. Jolting them is hard. Giving them a reason to care about characters in trouble — even harder. Little Erin Merryweather takes that hardest of roads and succeeds. Much more than gore, its haunted resonance offers a lingering chill. Put it this way: If Jaws kept swimmers out of the water, then Little Erin Merryweather surely will keep your fingernails clean.
Spotting Star Power
lachefperuana19 February 2005
I had the pleasure of seeing this film at a festival, and frankly I cannot wait for the movie to be released in theaters. Little Erin Merryweather is about 3 boys who are 'literally' trying to survive college as a homicidal killer, Erin Merryweather (played by Vigdes Anholt), stalks her prey on campus and maniacally seeks to destroy them. The ring-leader of this hunted trio is the wise-cracking sarcastic Teddy (played by Brandon Johnson of 'One Life To Live'). Added to him is everyone's all-purpose buddy and ever too trusting Sean (played by Marcus Bonee). Rounding out the trio is the most all-American of the boys...blonde-haired Peter (played by former Talbot's model David Morwick... a dead ringer for Christopher Atkins of 'Blue Lagoon' fame). I would not call this film terrifying as much as I would say that it is tension-filled. It leaves you on the edge of your seat waiting for these three innocents to fall prey to a killer without a conscience. Whoever did the casting for this film certainly has an eye for talent, spotting upcoming star power. Watch especially for Johnson and Morwick, as well as Vigdes Anholt. I am guessing that the latter is foreign with a name like that, LOL.
What A Surprise
ashmcauliffe8 April 2009
I'm usually very wary of horror films that centre around a fairy tale basis but this was a brilliant movie. The cast was brilliant (bar from the cop.) The actress who plays Erin has a very Fatal Attraction Glenn Close charm about her and has the ability to go from sweet and innocent to dark and menacing in an instant. The script was remarkably well written. It was very chilling movie and kept you on the edge of your seat. The artistic direction especially the illustrations used to tell the story are breathtaking. I am really hoping that there will be a sequel to this. It also deserves more recognition than. Hats off to everyone who worked on this movie.
Indie's European Flair Trumps Big-Budget Facsimile
aussie-reviews30 March 2011
Something is disturbingly familiar about Red Riding Hood, the new Warner Brothers film released this spring, and it's not the Big Bad Wolf, nor my childhood memory of the 700 year old legend that morphed into a Grimm fairy tale. Instead, what jolted me was one lyrical image—a blond ingénue's fiery red cape floating slow-motion to a forest floor smothered in endless gleaming white snow.
Exquisite it is. But exceeded—years ago—by Little Erin Merryweather, an underestimated indie film that accomplished what Red couldn't, despite the latter's $50 million budget and seemingly 50 million computer generated effects.
By contrast, Little Erin's strikingly similar image of a satin cloak gliding off the shoulders of its female lead is real, filmed in the cold of a glistening fresh New England snow. This is cinematic au natural versus everything-from-the-CG-sink, and out of the dregs of that drain Red unintentionally spits up another scary animal—the Big Bad Copycat, a feline whose color is pale. Red literally had 100 times the budget of Little Erin Merryweather. Too bad the film itself wasn't as deep as Warner's oversize pockets.
It is nice to note the actors in Little Erin are on to other things: Vigdis Anholt, the female killer (another of the film's novelties), performs off-Broadway. Brandon Johnson, one of her victims, has his own show on Disney Channel. David Morwick, the winsome and funny male lead, has visited other film genres (political commentary, romantic comedies) and produced Emmy-award winning documentaries.
As for Little Erin, released in 2003, and non-existent CG effects notwithstanding, it has reached quasi-cult eminence here in Australia. To thousands of us living in Oz, its European flair serves as a comfort DVD on a chilly Saturday night. On that, however, the comparison of the two films diverges yet again. Somehow, I doubt the same will ever be said years hence about Red Riding Hood.
Exquisite it is. But exceeded—years ago—by Little Erin Merryweather, an underestimated indie film that accomplished what Red couldn't, despite the latter's $50 million budget and seemingly 50 million computer generated effects.
By contrast, Little Erin's strikingly similar image of a satin cloak gliding off the shoulders of its female lead is real, filmed in the cold of a glistening fresh New England snow. This is cinematic au natural versus everything-from-the-CG-sink, and out of the dregs of that drain Red unintentionally spits up another scary animal—the Big Bad Copycat, a feline whose color is pale. Red literally had 100 times the budget of Little Erin Merryweather. Too bad the film itself wasn't as deep as Warner's oversize pockets.
It is nice to note the actors in Little Erin are on to other things: Vigdis Anholt, the female killer (another of the film's novelties), performs off-Broadway. Brandon Johnson, one of her victims, has his own show on Disney Channel. David Morwick, the winsome and funny male lead, has visited other film genres (political commentary, romantic comedies) and produced Emmy-award winning documentaries.
As for Little Erin, released in 2003, and non-existent CG effects notwithstanding, it has reached quasi-cult eminence here in Australia. To thousands of us living in Oz, its European flair serves as a comfort DVD on a chilly Saturday night. On that, however, the comparison of the two films diverges yet again. Somehow, I doubt the same will ever be said years hence about Red Riding Hood.
Feminist Horror
pamhaley-9806317 October 2020
I appreciated how smart this independent film is. It literally switched every gender role on its head. There is a feminist bend to Little Erin. In fact, I would put this in the category of feminist horror. You have a strong female, front and center who preys on handsome young men.
Vigdis Anholt as the femme fatale is superb. At times she invokes sympathy and at other times, she is down right terrifying. Not easy to pull off. Her portrayal of someone with a split personality who suffered from sexual abuse as a child is most convincing. The movie racks up creativity points by coming up with a new character in horror who dresses up as a creepy beauty doll to look like Little Red Riding Hood. She also disembowels her victims and replaces their insides with stones. This is novel. It simply hasn't been done.
For once, we have a final boy in David Morwick's character, Peter. Morwick brings the right mix of humor and sensitivity. At times, it's like watching a romantic comedy but then it all changes when he is sobbing in fear as his friends go down. Erin picks off all the alpha males and it may be Morwick's shyness and sensitivity that saves him in the end. For me, the film is woefully underrated. Despite a limited budget, the filmmakers don't resort to blood and naked bodies. Rather the film showcases stylish photography with great color contrasts and fanciful artwork. The original soundtrack is excellent and conveys a deeply sad message which runs throughout the film.
Vigdis Anholt as the femme fatale is superb. At times she invokes sympathy and at other times, she is down right terrifying. Not easy to pull off. Her portrayal of someone with a split personality who suffered from sexual abuse as a child is most convincing. The movie racks up creativity points by coming up with a new character in horror who dresses up as a creepy beauty doll to look like Little Red Riding Hood. She also disembowels her victims and replaces their insides with stones. This is novel. It simply hasn't been done.
For once, we have a final boy in David Morwick's character, Peter. Morwick brings the right mix of humor and sensitivity. At times, it's like watching a romantic comedy but then it all changes when he is sobbing in fear as his friends go down. Erin picks off all the alpha males and it may be Morwick's shyness and sensitivity that saves him in the end. For me, the film is woefully underrated. Despite a limited budget, the filmmakers don't resort to blood and naked bodies. Rather the film showcases stylish photography with great color contrasts and fanciful artwork. The original soundtrack is excellent and conveys a deeply sad message which runs throughout the film.
Don't Miss This One
ben-201927 September 2019
This haunting, beautiful film is, and has always been, such an absolutely refreshing alternative to the torture porn, horror/porn and gore that continues to find its way into the cineplexes.
"Little Erin Merryweather" eschews the tired crutches of sex and gore, instead standing firmly on its deliciously twisted story, the cast's engaging performances, the stunning artwork, and its gorgeous soundtrack.
"Little Erin Merryweather" eschews the tired crutches of sex and gore, instead standing firmly on its deliciously twisted story, the cast's engaging performances, the stunning artwork, and its gorgeous soundtrack.
Best Artwork I've Ever Seen
m_r_mahoney_057 September 2005
I saw this film at the Woods Hole Film Festival in Falmouth, Massachusetts on Cape Cod. If I remember correctly, I believe this movie walked away with the award for best picture, but what I remember most was that this film had some of the best original artwork I have seen. I am truly not exaggerating when I say that. The movie is about a female serial killer who is an artist and is acting out the murders that she paints and illustrates in this book she is composing. (very neat idea by the way... and very creative and original way to tell a story) I thought the story line for this movie was very creative, especially for this genre. So the movie is a framework for the book and I don't know if the book is available to buy. It is absolutely amazing and I would love to get a copy. As a rule, I am not fond of this genre (the horror genre). I was definitely the oldest member of the audience, sitting in a theater amongst rowdy young people. This people definitely speaks more to the younger generation. Nevertheless, besides the outstanding artwork, there are some spectacular snow covered locations worth seeing. There is also a group of talented young actors. Vigdis Anholt, who I discovered is from Norway (I though I detected an accent) as well as David Morwick (a former model for Talbot's) and Brandon Johnson (who got his start on a soap opera) are all great. But I have to say that the performance I was most impressed with was Liz Callahan who plays the teacher. It's nice to see a strong female who doesn't die at the end of one of these films (oops...sorry to give away the ending for those who haven't seen it). I don't like to even sit through this type of movie, but if I happen to catch it on t.v. in the future, I'll watch it with the lights on and one eye open to see that amazing artwork again. The only thing I would say is that this film is a little too smart and sophisticated for its genre. If I were the filmmakers, I would not market this film as a horror, but rather a thriller. If you're a hard-core horror buff, this movie will go over your head. I think that a lot of these die hard horror fans want more in the way of blood, very little story and women that are undressed or have little or no character development. But, I shouldn't be going on too much because the film world is something I know very little about considering I'm a third grade teacher... So, if the filmmakers read this- guys don't be offended. You did a superb job. This teacher gives it an A -Mary-Rita from Salem, NH
Sweet Smell of Success!
sanwint200315 December 2003
There is the sweet smell of success with the movie Little Erin Merryweather. This movie opened to rave reviews at the New York City Horror Film Festival. All the stars are aligned. There are good-looking young actors, a fresh story, a new character in horror and a memorable sound track. This is an ambitious film with a lot of pop culture and cult status seems assured.
The movie creates a new chapter in horror with its strong feminist theme. Add to that an eerie premise which revolves around young men in jeopardy. One might see this directly from the movie i.e. a scene where the three young men are watching our villainess, the lady in red, pass by them on a college campus. The more brash teenage boys sort of jeer at her as if to say that she has no problem picking off boys that seem to be gruff and tough whereas one of the main characters, Peter, has the virginal strength to fight her off.
It may be why Peter and our villainess Erin connect. This movie may also be about the strength of the repressed. Unlike a lot of other slashers, it is interesting how these victims are portrayed. They are typical college kids. No one is a star vying for an academy award and the performances are all the more absorbing because of that. Instead of a high body count the victims are people that the audience comes to care about partly because the script is smartly set into the normsville of everyday life. When it seems more normal and accessible to the audience, they can relate to it. Then all of a sudden you find that what is supposed to be normal college life can become very threatening and scary.
What's nice about this movie is it follows a basic rule of thumb- it's not what you see but what you don't see that is scary. It is the anticipation of knowing what's going to happen but not knowing exactly where and when. It also builds and builds and as time goes on the audience gradually gets a closer look at the villainess in a frightening immobilized doll's mask. The villainess is deftly played by Vigdis Anholt.
Anholt, Morwick, Callahan and Johnson all bring in strong performances. Morwick who plays the role of Peter (also screenwriter and director) does a wonderful job of portraying a vulnerable character with a little boy quality that the audience comes to care about. Peter's best friends Teddy and Sean are played by Brandon Johnson and Marcus Bonee who are unfortunately not so lucky and the audience waits in dread.
This movie is cleverly balanced with moments of terror and carefully chosen moments of comic relief. The movie is special because it is taking this genre and doing something fresh with it. Through stylized photography and artwork and a score that is close to a hauntingly sweet jack-in-the-box, watch out! Beyond the beautiful exterior of it all, evil lurks. This may very well become a classic. - Reviewed by Sandra Wint, Tribeca- NYC
The movie creates a new chapter in horror with its strong feminist theme. Add to that an eerie premise which revolves around young men in jeopardy. One might see this directly from the movie i.e. a scene where the three young men are watching our villainess, the lady in red, pass by them on a college campus. The more brash teenage boys sort of jeer at her as if to say that she has no problem picking off boys that seem to be gruff and tough whereas one of the main characters, Peter, has the virginal strength to fight her off.
It may be why Peter and our villainess Erin connect. This movie may also be about the strength of the repressed. Unlike a lot of other slashers, it is interesting how these victims are portrayed. They are typical college kids. No one is a star vying for an academy award and the performances are all the more absorbing because of that. Instead of a high body count the victims are people that the audience comes to care about partly because the script is smartly set into the normsville of everyday life. When it seems more normal and accessible to the audience, they can relate to it. Then all of a sudden you find that what is supposed to be normal college life can become very threatening and scary.
What's nice about this movie is it follows a basic rule of thumb- it's not what you see but what you don't see that is scary. It is the anticipation of knowing what's going to happen but not knowing exactly where and when. It also builds and builds and as time goes on the audience gradually gets a closer look at the villainess in a frightening immobilized doll's mask. The villainess is deftly played by Vigdis Anholt.
Anholt, Morwick, Callahan and Johnson all bring in strong performances. Morwick who plays the role of Peter (also screenwriter and director) does a wonderful job of portraying a vulnerable character with a little boy quality that the audience comes to care about. Peter's best friends Teddy and Sean are played by Brandon Johnson and Marcus Bonee who are unfortunately not so lucky and the audience waits in dread.
This movie is cleverly balanced with moments of terror and carefully chosen moments of comic relief. The movie is special because it is taking this genre and doing something fresh with it. Through stylized photography and artwork and a score that is close to a hauntingly sweet jack-in-the-box, watch out! Beyond the beautiful exterior of it all, evil lurks. This may very well become a classic. - Reviewed by Sandra Wint, Tribeca- NYC
Bizarre
karenkowals9 December 2003
Oh my god, how bizarre was this movie! We saw this at one of the screenings in New York and I'll never forget it, because I hate horror movies and my boyfriend knows this. Later that night he terrorized me jumping out at me in the house with a red blanket over his head threatening to put rocks in my stomach. Needless to say, he's a freak and this movie was right up his alley.
This movie really creeped me out. I loved that the "men" were the stupid vicitms for once. Speaking of that, there were some very cute boys in this movie. And then there's the doll. I hate dolls to begin with. This one is the mother of them all- it has no eyes.
Seriously though, this is a great film... great music, actors, scenery yadda yadda... It definitely builds because when it gets to the point where there's only the one boy left, and he's hiding from her in the library, I was literally hiding under my seat. Even if you're not a horror freak like my boyfriend, you should still check it out because it is different and very creative.
This movie really creeped me out. I loved that the "men" were the stupid vicitms for once. Speaking of that, there were some very cute boys in this movie. And then there's the doll. I hate dolls to begin with. This one is the mother of them all- it has no eyes.
Seriously though, this is a great film... great music, actors, scenery yadda yadda... It definitely builds because when it gets to the point where there's only the one boy left, and he's hiding from her in the library, I was literally hiding under my seat. Even if you're not a horror freak like my boyfriend, you should still check it out because it is different and very creative.
Chills and Thrills
bendicion5 December 2003
New York, New York Film Fr.Pan.
New England is the physical and psychic backdrop for LITTLE ERIN MERRYWEATHER, a stunning film that manages to be both cerebral and terrifying. For anyone who has watched American horror films over the last thirty years, this is no mean achievement. Most of the bumper crop consists of cheap thrills, bad acting, laughable dialogue, gloriously nihilistic exsanguination scenes that mean nothing and only signify an audience as banal and boring as these slash-and-gash films. Prepared for the horror equivalent of a Brecht play: it will transform the audience and expectations about what the genre can do when it is permitted to move beyond its creaky conventions.
Vigdis Anholt plays Erin, a college student with a dark past, and even darker secret, whose existence is neither quite lived in reality or within the fairy tales she writes. She moves through these thresholds with dreadful consequences and the mental geographies she travels soon moves her beyond the human. Well, this may not be entirely true, and my ambivalence about commenting about her transformation has as much to do with Anholt's acting as much as the well-crafted script. In one of the most nuanced acting performances of the past few years, Anholt demonstrates how long we've been waiting for an innovative character in the horror genre. Her ability to make herself vulnerable and wicked simultaneously is moving (not typically an adjective one attributes to actors in horror films); finally, a feminine embodiment of accidental evil who is active, not passive, empowered and completely sui generis. A performance worthy of a Bergman actress. Her excellence is complemented by the rest of the cast, most notably David Morwick, as Peter, the student who removes the cloak of evil and rids the world of one of the most memorable characters you'll meet (should we applaud or scorn him for this job well done? Moral ambiguity towards murderers is inevitable in this case). Morwick, amid many solid performances, is the most natural; the character inhabits him and his sensitivity reflects a fine-tuning of the young adult roles that so often become overacting, oversexed, overkill all too often. So we have a killer possessed by family demons and a male lead possessed by his character: let's be thankful that there are no exorcism scenes.
I saw this film at the New York City Horror Film Festival and was overwhelmed by my viewing. The rest of the audience would concur, or so their gasps, nervous whispers, and intermittent screams would infer. The French philosopher Pascal once wrote of his fear of open spaces. The Director of Photography Michael Marius Pessah should be complimented for inflecting his widescreen vision with a tension and force that suggests terror thrives in the open air, not just in tight, dark pockets. Agoraphobics take warning! David Lean's LAWRENCE OF ARABIA comes to mind as a reference point; in each, the camera's wide-scope takes on a life all on its own, as if it were itself a character in the action. LITTLE ERIN MERRYWEATHER is a refreshing example of the industriousness of small-budget films graced with acting chops and intelligent writing. Go see it and prepare to be surprised, terrified, and delighted.
New England is the physical and psychic backdrop for LITTLE ERIN MERRYWEATHER, a stunning film that manages to be both cerebral and terrifying. For anyone who has watched American horror films over the last thirty years, this is no mean achievement. Most of the bumper crop consists of cheap thrills, bad acting, laughable dialogue, gloriously nihilistic exsanguination scenes that mean nothing and only signify an audience as banal and boring as these slash-and-gash films. Prepared for the horror equivalent of a Brecht play: it will transform the audience and expectations about what the genre can do when it is permitted to move beyond its creaky conventions.
Vigdis Anholt plays Erin, a college student with a dark past, and even darker secret, whose existence is neither quite lived in reality or within the fairy tales she writes. She moves through these thresholds with dreadful consequences and the mental geographies she travels soon moves her beyond the human. Well, this may not be entirely true, and my ambivalence about commenting about her transformation has as much to do with Anholt's acting as much as the well-crafted script. In one of the most nuanced acting performances of the past few years, Anholt demonstrates how long we've been waiting for an innovative character in the horror genre. Her ability to make herself vulnerable and wicked simultaneously is moving (not typically an adjective one attributes to actors in horror films); finally, a feminine embodiment of accidental evil who is active, not passive, empowered and completely sui generis. A performance worthy of a Bergman actress. Her excellence is complemented by the rest of the cast, most notably David Morwick, as Peter, the student who removes the cloak of evil and rids the world of one of the most memorable characters you'll meet (should we applaud or scorn him for this job well done? Moral ambiguity towards murderers is inevitable in this case). Morwick, amid many solid performances, is the most natural; the character inhabits him and his sensitivity reflects a fine-tuning of the young adult roles that so often become overacting, oversexed, overkill all too often. So we have a killer possessed by family demons and a male lead possessed by his character: let's be thankful that there are no exorcism scenes.
I saw this film at the New York City Horror Film Festival and was overwhelmed by my viewing. The rest of the audience would concur, or so their gasps, nervous whispers, and intermittent screams would infer. The French philosopher Pascal once wrote of his fear of open spaces. The Director of Photography Michael Marius Pessah should be complimented for inflecting his widescreen vision with a tension and force that suggests terror thrives in the open air, not just in tight, dark pockets. Agoraphobics take warning! David Lean's LAWRENCE OF ARABIA comes to mind as a reference point; in each, the camera's wide-scope takes on a life all on its own, as if it were itself a character in the action. LITTLE ERIN MERRYWEATHER is a refreshing example of the industriousness of small-budget films graced with acting chops and intelligent writing. Go see it and prepare to be surprised, terrified, and delighted.
Unbelievable Soundtrack!
mike_kim3003 April 2005
It's nice to see an indie film use an actual orchestra and choir rather than capitulate to the compromised sounds produced by computers and synthesizers. The film's score is not only brilliant in its composition, but equally impressive in its execution. From the opening credits to the chilling end of this film, the music proves to set an appropriate and fitting backdrop from scene to scene. Cristo, the composer, delivers us a score that juxtaposes beautiful sweeping lyrical melodies and hauntingly disturbing music. The inter-play between beauty and beast in the score reflects well both the killer's internal struggle between the forces of good and evil as well as the struggle that ensues between the disturbed killer and her innocent college-aged victims. The choir, magnificently harmonized and blended, is reminiscent of the 'Omen' in its 'hair-raising effectiveness,' but nevertheless maintains its own uniqueness in composition. The composer could be compared to venerable John Williams or perhaps a modern day Tchaikovsky for his orchestration. I don't know if the movie has been released yet, but I would highly recommend finding a release of the score on CD. I believe this film comes to us from Boston. If anyone has more information about the filmmakers, I would appreciate hearing back from you.
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