's reinvention of classic (and not so classic) is on the agenda and the concept, by itself, does not have to be negative. However, not understanding the material that is reinventing itself may produce failed results. Riding Hood Red is, unfortunately, a good example of this phenomenon. The classic tale by Charles Perrault popularized by the Brothers Grimm first and then is turned into an intrigue of love and murder, all mixed with werewolves and priests able to combat the threat of lycanthropy, translating these into a script full of topics at all levels: in the individual characters in the love triangle, the supposed savior of the people and how other characters react to him and even in solving the mystery. That leads to an end more than expected, although the film's director, Catherine Hardwicke (Twilight responsible, and that is but a clear signal of what it offers Little Red Riding Hood) to work towards truffles footage with false leads and unresolved issues. Use the title of Little Red Riding Hood is as an excuse to ensure the inevitable task of marketing the cinema than as a basis for the movie plot. Forget the classic tale, this will help avoid disappointment and odious comparisons, and parts of the story here says. Valerie is in love with a child of a woodcutter named Peter and wants to marry him, but his family has decided to wed someone much richer, the village blacksmith's son, Henry. In this context, there is a murder that the villagers blame the wolf, a creature that is said was two decades without attacking through the offerings they made but now is back. We have the wolf in the story, here, we discover immediately, is a werewolf than a wolf. To combat it, comes to town the Father Solomon, a famous enemy of witches and demons. The setting of the village and the forest is undoubtedly the best of Little Red Riding Hood . Is the most accomplished and, that in quotes, the best character in the film.
, however, remains untapped because there ianterés to generate a horror story (although that the theme of the film is "Who are you afraid?") and Hardwicke focus is on characters who either fail or pass, starting with the protagonist, a beautiful but cold image. Amanda Seyfried is Little Red Riding Hood, Valerie indeed (becomes, in fact, Little Red Riding Hood with a poor plot twist and forced, as forced as the reason for returning to dress for much of the footage), and its interpretation is highly implausible. It brings sparkle to the classic image of innocence of the character, not sexuality that needs to clear the love triangle that puts Hardwicke and does not appear too comfortable with the special effects that move around (Her face to face confrontation. There is much to scratch his character, although on paper had many more possibilities you see in the film (eg the same epilogue would have been a most daring and courageous film even further alloy of Little Red Riding Hood myth ).
Gary Oldman, Julie Christie and Virginia Madsen are called to give a touch of class to the film. They're both great actors, but none seem to believe at all their papers. Christie gives life the grandmother's story, and it is intended precisely to establish a link between the classic story and this film, but more likely the chosen scene to carry out this mission causes laughter in the audience. Madsen is perhaps the most exciting character in the film, as Oldman unleashes the histrionics that characterized some of his previous characters, but raises the level of entertainment, too topical. Unfortunately, like most things in Red Riding Hood. Even if someone is so long in the theater room you see the movie, the final shock after the credits, which is also coming. Lukas Haas plays the local priest and is surely at least the topic of the film. Unfortunately, his character remains largely untapped and only appears in a film that does not changes from a youthful fun.
If this scheme with reference to Twilight is inevitable, it also seems to be a less expected of the forest . Not the quality of the film, because of M Night Shyamalan is a disturbing tale and very well orchestrated, well away from the failed proposal Red Riding Hood, but for the environment in which Hardwicke put the mystery of this story. The mystery is, of course, know who and why the wolf kills. It is a mystery that is not well taken. Apart from the predictable or not likely to be the resolution (for me it was), the development is awkward and tricky. The movie is not honest does not have everything you would need to have too many things and has the sole purpose of confusing the viewer. Much noise and little history in much of what is counted, which results in the elimination of some meaningless characters that appear to have no importance and influence of others who do may have given much play. Little Red Riding Hood is a mistaken translation of a classic tale that can be visually satisfying, but provides no narrative level too.
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